SCHÜCH, ANDREAS SCHÜCH, ANDREAS Ulm um 1645 - um 1680 zugeschrieben Titel: Satyr überrascht eine schlafende Nymphe. Technik: Aquarellierte Tuschfederzeichnung auf Papier. Montierung: Montiert. Maße: 13,5 x 15,5cm. Bezeichnung: Altbezeichnet und datiert unten: Bezeichnung: (...) Anno 1646 / Andreas Schüch (...). Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Andreas Schüch Deutschland Barock 17.Jh. Handzeichnungen Mythologie Zeichnung Erotik SCHÜCH, ANDREAS SCHÜCH, ANDREAS Ulm 1634 - 1680 ca. attributed Title: Satyr Surprises a Sleeping Nymph. Technique: Watercolour ink pen drawing on paper. Mounting: Mounted. Measurement: 13,5 x 15,5cm. Notation: Old inscription and dated at the bottom: (...) Anno 1646 / Andreas Schüch (...). Provenance: Private ownership, Germany. Explanations to the Catalogue Andreas Schüch Germany Baroque 17th C. Watercolour / Drawings Mythology Drawing Erotism
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KUMMER, ROBERT KUMMER, ROBERT Dresden 1810 - 1889 Titel: Meeresbrandung in der Bucht von Colares in Portugal. Technik: Öl auf Papier. Montierung: Auf Karton gelegt. Maße: 30 x 47,5cm. Rahmen/Sockel: Rahmen. Rückseitig: Auf dem Karton handschriftlich: "Zur Erinnerung / an / Robert Kummer" sowie oben auf einem Papier der Stempel Lugt 1596. Provenienz: Nachlass des Künstlers; Auktion Villa Grisebach, Berlin, 30.11.2016, Lot 163; Sammlung Prof. Dr. Thomas Olbricht, Essen. Literatur: Vgl. E. Nüdling: Carl Robert Kummer. Ein Dresdener Landschaftsmaler zwischen Romantik und Realismus, Petersberg 2008, Nr. 405, S. 293. Die bei Nüdling abgebildete lavierte Federzeichnung aus Dresdener Privatbesitz zeigt die gleiche Ansicht aus dem portugiesischen Colares, westlich von Sintra. Das Blatt trägt unten rechts den Nachlassstempel, der bei unserem Gemälde auf dem rückseitigen Papier zu finden ist; sie ist mit 1859 datiert. In diesem Jahr hielt sich Kummer zur Hochzeit des sächsischen Prinzen Georg mit der portugiesischen Königstochter Maria Anna in Lissabon auf und unternahm Ausflüge entlang der Küste. Die hier entstandenen Zeichnungen und Studien nutzte er in den Folgejahren als Vorlage für seine Landschaftsaufnahmen, die durch ihre klare und ungekünstelte Wiedergabe von Landschaft und Stimmung noch heute sehr modern wirken. Erläuterungen zum Katalog Robert Kummer Deutschland Dresdener Schule Romantik 19.Jh. Gemälde Küste Gemälde Südliche Landschaft KUMMER, ROBERT KUMMER, ROBERT Dresden 1810 - 1889 Title: Sea Surf in the Bay of Colares in Portugal. Technique: Oil on paper. Mounting: Laid down on card. Measurement: 30 x 47,5cm. Frame/Pedestal: Framed. Verso: On the card handwritten: "Zur Erinnerung / an / Robert Kummer" as well as stamped top on the paper Lugt 1596. Provenance: Artist's estate; Auction Villa Grisebach, Berlin, 30.11.2016, lot 163; Collection Prof. Dr. Thomas Olbricht, Essen. Literature: Cf. E. Nüdling: Carl Robert Kummer. Ein Dresdener Landschaftsmaler zwischen Romantik und Realismus, Petersberg 2008, no. 405, p. 293. The washed pen and ink drawing from a private collection in Dresden shows the same view from Colares, Portugal, west of Sintra. The sheet bears the estate stamp at the bottom right, which is found on the paper on the back of our painting; dated 1859. In that year, Kummer was in Lisbon for the wedding of the Saxon Prince George and the Portuguese princess Maria Anna and took trips along the coast. In the years that followed, he used the drawings and studies produced here as models for his landscape images, which, with their clear and unaffected rendering of landscape and mood, still appear very modern today. Explanations to the Catalogue Robert Kummer Germany Dresden School Romanticism 19th C. Paintings Coast Painting Southern Landscape
KOHL, LUDWIG KOHL, LUDWIG Prag 1746 - 1821 Titel: Angler unter einer Brücke. Technik: Aquarell über schwarzem Stift auf Papier. Montierung: Montiert. Maße: Blattmaß: 40,5 x 52cm. unten rechts mit angeschnittener Signatur und Datierung sowie oben rechts nummeriert: Nr. 14. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Ludwig Kohl Tschechien 18./19. Jh. Handzeichnungen Fischer Zeichnung Flusslandschaft KOHL, LUDWIG KOHL, LUDWIG Prague 1746 - 1821 Title: Fisherman under a Bridge. Technique: Watercolour over black pen on paper. Mounting: Mounted. Measurement: Sheet size: 40,5 x 52cm. lower right with trimmed signature and date as well as upper right numbered: Nr. 14. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Ludwig Kohl Czech Republic 18./19. C. Watercolour / Drawings Fishermen Drawing River
SCHLESINGER, FELIX SCHLESINGER, FELIX Hamburg 1833 - 1910 Titel: Im Hasenstall. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 43,5 x 52,5cm. Bezeichnung: Signiert unten links: F. Schlesinger. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Felix Schlesinger Deutschland Münchner Schule 2.H. 19.Jh. Gemälde Kind / Kinder Malerei Tiere SCHLESINGER, FELIX SCHLESINGER, FELIX Hamburg 1833 - 1910 Title: In the Rabbit Pen. Technique: Oil on canvas. Mounting: Relined. Measurement: 43,5 x 52,5cm. Notation: Signed lower left: F. Schlesinger. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Felix Schlesinger Germany Munich School 2nd half of 19th C. Paintings Child / Children Painting Animals
PESCHEL, CARL GOTTLIEB PESCHEL, CARL GOTTLIEB Dresden 1798 - 1879 Titel: Ruhe auf der Flucht. Die Heilige Familie bei der Rast. Technik: Aquarell über schwarzem Stift auf Papier. Montierung: Kaschiert. Maße: 22 x 28,5cm. Bezeichnung: Signiert und datiert unten rechts: C.(lig.) Peschel / 1872. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Die vorliegende, aquarellierte Zeichnung zeigt in eine strengen frontalen Komposition das neutestamentlich Motiv der Heiligen Familie bei der Rast. Der 1847 an der Kunstakademie Dresden zum Professor berufene Künstler Carl Gottlieb Peschel verbrachte 1825/26 ein Jahr in Rom und schloss sich dort durch seinen engen Freund und Kollegen Julius Schorr von Carolsfeld der Künstlergruppe der Nazarener an. Ziel dieser deutschsprachigen, in Rom und Wien tätigen Künstler war die anfangs antikademisch-fortschrittliche Haltung und Erneuerung der Kunst im Geiste des Christentums. Auch wenn Peschel nur ein Jahr in Rom verbrachte und die vorliegende Zeichnung laut der Signatur im Jahr 1872 entstand (und somit beinahe 50 Jahr nach seiner prägenden Zeit in Rom sowie sieben Jahr vor seinem Tod), sind die Einflüsse der Nazarener Schule anhand der mittelalterlichen Formensprache und lieblichen Ikonographie deutlich ersichtlich. Erläuterungen zum Katalog Carl Gottlieb Peschel Deutschland Nazarener Dresdener Schule 19.Jh. Handzeichnungen Religiöse Darstellung Aquarell Marienleben PESCHEL, CARL GOTTLIEB PESCHEL, CARL GOTTLIEB Dresden 1798 - 1879 Title: Rest on the Flight. The Holy Family resting. Technique: Watercolour over black pen on paper. Mounting: Mounted. Measurement: 22 x 28,5cm. Notation: Signed and dated lower right: C.(lig.) Peschel / 1872. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. The present watercoloured drawing shows in a strict frontal composition the New Testament motif of the Holy Family at Rest. 1847 Carl Gottlieb Peschel was appointed professor at the academy of arts in Dresden. 1825/26 he spent one year in Rome, where he joined the Nazarene group of artists through his close friend and colleague Julius Schorr von Carolsfeld. The aim of these German-speaking artists, who worked in Rome and Vienna, was the initially anti-academic and progressive attitude and renewal of art in the spirit of Christianity. Even though Peschel only spent one year in Rome and the present drawing, according to the signature, was created in 1872 (almost 50 years after his formative period in Rome and seven years before his death), the influences of the Nazarene school are clearly evident in the medieval formal language and lovely iconography. Explanations to the Catalogue Carl Gottlieb Peschel Germany Nazarene Dresden School 19th C. Watercolour / Drawings Religious Art Water color Life of Virgin Mary
English, dated 1843, signed in script to the top of the bar-limb ‘Powell & Lealand, Makers, London’, of standard No.3 construction, standing on a large lacquered tripod base with circular feet each with cork pads, trunnions to the top supporting the body, with large plano-concave mirror to the base as typically supported on one side on a sliding collar, above which collar, with a Turrel-type mechanical stage with X-Y control, main course focus to rear of body, bar-limb incorporating fine focus lever mechanism to the side, nose piece with prism blanking plate, limb with threaded boss to accept binocular or monocular tubes, the microscope comes with the following accessories in a fitted mahogany case: A 1in objective, Lieberkühn & can. A 1/2in objective, Lieberkühn & can. A 1/4in objective, Lieberkühn & can. A 1/8in objective & can. A high power eyepiece. A pair of medium power eyepieces. A pair of low power eyepieces. A pair of eyepiece extension collars. An achromatic substage condenser signed. 3 darkwells. 2 liveboxes . A leather case with a binocular prism. A substage wheel of stops Stage forceps a stage bulls-eye condenser A pair of binocular bodytubes In a fitted mahogany case with key. Provenance the microscope comes with a calling card for ‘Sir Thomas Watson, 16 Henrietter St, Cavendish Square’, to the rear of the card in pen is written ‘Bequeathed to Dr George Johnson’. This claim is backed up with a copy, which accompanies the microscope, of Sir Thomas Watson's original will which states ‘I give my microscope by Powell & Lealand to Dr George Johnson of Savile Row, London’. Sir Thomas Watson, 1st Baronet, (1792 – 11 December 1882) was a leading British physician, he studied medicine at St Bartholomew's Hospital and Edinburgh and graduated M.D. from Cambridge University in 1825. He was appointed physician to the Middlesex hospital in 1827 and was professor of clinical medicine at the University of London before transferring to King's College as professor of Forensic Medicine he also became Queen Victoria's private doctor and was created a baronet in 1866. Another calling card accompanies the microscope which states ‘Bequeathed by Sir G Johnson to Sir N. Tsard and by him to K. C. H. medical school’
India.- Royal Bengal Engineers.- Sketch Plan of the City of Lucknow, large manuscript map of the capital of the state of Uttar Pradesh, pen and inks, watercolour wash, traces of pencil, on wove paper, sheet approx. 660 x 1000 mm (26 x 39 1/2 in), with owner's ink inscription of William Crommelin in the upper right corner, mounted on linen, several large tears within the map with some losses, numerous nicks and tears to extremities, surface dirt, damp-stains, unframed, [circa 1860]; together with a lithographed map by H.M Smith, No. 2 Plan of the Operations Against Lucknow during the month of March 1858, mounted on various [?]Indian handmade papers, old folds, some surface abrasion and adhesive issues, damp-stains and the lower right affixed with old paper obscuring the map, in general poor condition with numerous issues, unframed, published by Surveyor Generals Office Calcutta, 1858 (2)⁂ The manuscript map bears the collectors' signature of Major William Arden Crommelin, of the Bengal Engineers, later Chief Engineer of Oudh.
Vasari (Giorgio) Ragionamenti del sig. cavaliere Giorgio Vasari pittore et architetto aretino. Sopra le inventioni da lui dipinte in Firenze nel palazzo di...Francesco Medici allora principe di Firenze, first edition, collation: ɫ4 A-L8 M-O4 P2, woodcut printer's device to title and verso of final f., portrait of Vasari and initials, most fore-margins with patterns pricked out using a pen nib or similar, staining and spotting, contemporary limp vellum, rebacked, preserving majority of original backstrip (with some loss), lacking ties, soiled and rubbed, small 4to (210 x 144mm.), Florence, Filippo Giunta, 1588.⁂ First edition of Vasari's posthumously published account of his own paintings for the Palazzo Vecchio. The work is written in the form of a dialogue between Vasari and the dedicatee Francesco de'Medici.Literature: Cicognara 225; EDIT 16 CNCE 28801.
Bible, Old Testament. Single leaf from the Book of Ezekiel, illuminated manuscript in Latin, on vellum, in a very small gothic bookhand, double column, 41 lines, in light brown ink, initials and chapter numbers with marginal pen and ink scrollwork in blue and red ink, very slight marginal staining, leaf 186 x 123mm., [Paris], [c. 1300]; and another, single leaf from a Book of Hours, [c. 1500], both framed and glazed, v.s., v.d. (2).
Homer.- Dio Chrysostom (Greek rhetorician and philosopher, born Prusa, Bithynia, c. 40 CE - died after 110 CE) Di Omero e dell'Omerica Poesia, tratti dal Greco, manuscript in Italian, 346 & 229pp., together 575pp., title in red and black, 3 full-page pen and ink miniatures of Apollo and Homer and a cameo of a woman, slightly browned, contemporary vellum, slightly soiled and yellowed, a few small wormholes on covers and spine, gilt spine with morocco label, 8vo, [Italy (probably Tuscany)], [early 18th century].⁂ A work on Homer and Homeric Poetry, taken from the Greek with other texts by Maximus of Tyre (on Plato and Homeric Philosophy), Dionysius of Halicarnassus and Philostratus.
Fortification.- Vauban (Sebastien le Prestre de), Blaise Francois de Pagan, Comte de Merveilles and Antoine Deville, after. Traite de Fortifications, manuscript on paper, 122pp., with 49 fine full-page pen-and-ink and watercolour drawings of fortifications, a few neat repairs to margins, contemporary mottled calf, gilt, neatly and sympathetically rebacked, preserving majority of original backstrip, folio, France, [c.1714].⁂ A handsome treatise providing information about the general principles of fortification, including the geometry and mathematical foundations of their construction. Following this is a five-page dictionary of the principal terms of fortification. The majority of the skilled watercolour illustrations face a textual description of the various methods described. Vauban, the primary author featured, was the greatest fortification expert of the second half of the 17th century, and his design principles of fortification were the dominant model for almost a century. Vauban himself was actively involved in training military engineers. This copy was possibly used as an instruction manual at a military academy, and the text is very probably unpublished and unique. This attractive treatise is distinguished for the quality and large number of its illustrations.
Calligram.- Jerusalem.- Anonymous (probably late 18th early 19th century) [Dutch manuscript calligram depicting Solomon's Temple], numbered key below with descriptions in Dutch, pen and brown ink on laid paper, mounted on support, sheet 490 x 650 mm (19 1/4 x 25 1/2 in), numerous tears, damp-stains and surface dirt, and browning, unframed, [circa 1800 or slightly later]⁂ Highly unusual pen and ink drawing made up entirely of manuscript text.
Literary portrait.- Edgeworth (Maria, novelist and educationist, 1768-1849).- Sketch of Miss Edgworth when at an Evening party at Clifton in 1817, pencil on laid paper without watermark, inscribed underneath in pencil with pen and ink overlay, sheet 180 x 105 mm (7 x 4 1/4 in), old folds and careful repair to tear, handling creases, some browning and surface dirt, unframed, 1817.
Anglo-Zanzibar War.- Hardinge (J.S., Royal Navy, midshipman) Log Book on HMS Raleigh, HMS St George and HMS Wanderer, 2 vol., autograph manuscript, titles and c. 330pp. excluding blanks, a few pen and ink maps (Simon's Town - South Africa, James Town - St Helena etc.), some ff. cut down, a few ff. loose, others working loose, slightly browned, hessian covered original boards, ink and water-stains on hessian, folio, 1894-96.⁂ An eyewitness account of the bombardment of the Sultan's Palace at Zanzibar, "A small ship called the Chureka the[n] approached the Racoon but was immediately sunk by the Thrush & Sparrow. After this the shells at the Palace started taking visible effect & soon the whole of the old wing was seen to be on fire. The Glasgow [the Sultan's yacht] hauled her flag down now & the flag at the Palace was shot away." - J.S. Hardinge.
First World War.- Money (M.B., Private, later Corporal, Ox & Bucks Light Infantry, British Expeditionary Force, fl. 1915-18) Collection of material relating to the First World War, including: 3 maps of Hebuterne (1 a Trench map), notebook (disposition of grenades, "Mechanism of the Lewis Gun" etc.) and others, maps, foxed and browned, folds, notebook c. 65pp. (many pp. in shorthand), in pen and pencil, some ff. loose, others working loose, original leather, v.s., v.d., 1915-18 (8 pieces).⁂ Scene of the Battle of Hébuterne, which took place from 7 to 13 June 1915 on the Western Front in Picardy.
Cervelli (G., French cartoonist and artist, active 1910-1920) Album with 32 original illustrations, point of the brush, pen and ink, watercolour, some heightened with white, many signed 'Cervelli' but scratched out, each sheet approx. 135 x 180 mm (5 1/4 x 7 in), neatly mounted on thick album leaves, photo and inscription by the artist to lower cover pastedown, some surface dirt and minor browning, contemporary boards, g.e., metal clasp, oblong 4to, [circa 1910s or slightly later].
Jones (Harold, British artist, illustrator and writer of children's books, 1904-1992) Three original illustrations for 'Tales from Aesop', including 'The Dog in the Water', 'Sourgrapes', and 'The boy who cried wolf', pen and ink with watercolour over pencil, some white correction fluid, each signed in pencil, on cream wove papers, various sizes between 190 x 160 mm (7 1/2 x 6 1/4 in) and 215 x 310 mm (8 1/2 x 12 1/4 in), under glass, some minor surface dirt, framed, [1981] § [Dodgson (C.L.)], "Lewis Carroll". The Hunting of the Snark, number 24 of 750 copies signed by the artist, full-page illustrations by Harold Jones, prospectus and flyer for exhibition of the original drawings loosely inserted, original cloth, gilt, t.e.g., others uncut, slip-case, Andoversford, Whittington Press, 1975 § Atkinson (M.E.) Mystery Manor, first edition, signed and inscribed by the author to the artist "H.J. with much gratitude M.E.Atkinson" on half-title, pictorial title and illustrations by Jones, some full-page, pictorial endpapers, original cloth, a little rubbed, dust-jacket by Jones with price unclipped, rubbed and browned, split at upper joint and frayed at edges, 1937; and a reprint of C.S.Lewis's Out of the Silent Planet in a Jones dust-jacket, v.s. (9)Provenance:Acquired directly from the estate of the artist.Provenance: Acquired directly from the estate of Harold Jones.
Roman School (16th century or later) Saint Catherine of Alexandria, The Penitent Magdalene, and Virgin and Child in ovals, pen and brown ink over black chalk, on laid paper without watermark, sheet 245 x 305 mm (9 5/8 x 12 in), some spotting and surface dirt, a few careful repairs to perforations, minor nicks and tears to extremities, unframed.
δ Millicent, Duchess of Sutherland.- Beerbohm (Max) Lady of Distinction, pen and black ink, conté crayon, monochrome wash, signed in the upper right quadrant, sheet 322 x 200 mm (12 3/4 x 7 7/8 in), under glass, laid onto card support, irregular edges in lower right corner, minor surface dirt, framed, [circa 1910-1925]Provenance:John Signer Sargent (1856-1925);d'Offay Couper Gallery;Where purchased by David Drey (April 1970);The Piccadilly Gallery, London;Where purchased by Paul Longmire Esq. (1990)⁂ "One of the great beauties of her age"δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Beerbohm (Max) Portrait of Tancred Borenius, pencil, pen and brown ink, wash, signed and dated '1922' in the lower right corner, inscribed to the left, sheet 275 x 142 mm (10 3/4 x 5 5/8 in), under glass, laid onto mount support with ruled ink borders, minor surface dirt and rubbing, framed, 1922Provenance:Ernest Brown & Phillips Ltd., The Leicester Galleries;Sale. Christies, Children's and Illustrated Books and Original Illustrations, 19th December 2007, lot 84⁂ Tancred Borenius was the Professor of History of Art at the University of London, and published works on 'The Painters of Vicenza' (1907), 'Four Early Italian Engravers' (1923), and many others. δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Szyk (Arthur, Polish-Jewish book illustrator and political artist, 1894-1951) Pax Teutonica..., pen and black ink, pencil, watercolour on cream wove paper, signed and dated lower right, with title inscribed lower left, sheet 310 x 220 mm (12 1/8 x 8 3/4 in), under glass, some minor spotting and surface dirt, framed, 1939.Provenance:Parke-Bernet Galleries Inc., [no. 2660, 3/7/68]Exhibited:United States Holocaust Memorial Museum, Washington DC, "The Art and Politics of Arthur Syck", May 2002 through to November 2002δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A 19th century Staffordshire pottery group 'Babes in the Wood', height 10cm, together with other 19th century ceramics including a Wesley centenary mug, a Spode pen box etc.Condition report: Pottery group - hairlines and small areas of paint loss Small transfer printed plate - 2cm crack, crazingCandlestick - chip and crack to rim, generally rubbing to gilded areas Pair cups and saucers - rubbing to gilding Spode pen box - hairline Wesley centenary mug - discoloured crazing commensurate with age, small ink (?) splodge Tureen and stand - scratches to stand, loss to elaborate handle on tureen (which is lacking its lid), nibbles to footrim, generally discoloured crazing Lidded tureen - small chip to lid and crack to rim of tureen
William Roberts R.A. (British, 1895-1980)Munitions Factory pencil and watercolour 30.5 x 42.4 cm. (12 x 16 5/8 in.)Executed in 1940Footnotes:ProvenanceWith Hamet Gallery, London, 15 April 1970, where purchased byMr & Mrs J.R. Capstick-DaleWith Michael Parkin Fine Art, London, where purchased byLady DugdaleExhibitedLondon, Hamet Gallery, William Roberts: A Retrospective Exhibition, 16 February-13 March 1971, cat.no.54London, Michael Parkin Fine Art, William Roberts: An Exhibition of Paintings and Drawings, 17 November–4 December 1976, cat.no.51The outbreak of war in September 1939 gave William Roberts a much-needed opportunity. With the turmoil abroad came a great degree of personal upheaval resulting in having to move the family from London to Oxford. However, the conflict brought about new subject matter that favoured his figurative style, which had spent much of the 1930s in the shadow of Abstraction, epitomised by the Unit One movement and spearheaded by Paul Nash and his contemporaries. Roberts had seen some of the bloodiest action during The Great War, toiling in the trenches of Belgium and France with the artillery and carrying out the incredibly dangerous task of repairing communication lines between field batteries. Taken up as an Official War Artist, Roberts produced some outstanding work including the significant oil The First German Gas Attack at Ypres (1918, National Gallery of Canada, Ottawa), a commission from the Canadian War Memorials Fund (CWMF). However, he is perhaps most admired for the smaller pen and ink drawings and watercolours worked up in the Cubist manner from his Flood Street studio in Chelsea once relieved from active military service. Upon writing to the War Office on the 12th September 1939 in the hope of securing commissions he did so with the benefit of experience, hoping to become one of the few artists to document both conflicts in Europe.Roberts was rewarded for his enthusiasm with an assignment to accompany the British Expeditionary Force to France where he would illustrate some of its senior figures. To his detriment the artist failed to appear on the continent, feeling instead that he could produce equally accomplished work in England. Clearly the War Artists' Advisory Committee did not share Roberts' sentiments and owing to his petulance cancelled his contract with almost immediate effect. This unfortunate turn of events scuppered his chances of becoming the fully-fledged war artist he deserved, and it took a grovelling letter to Kenneth Clark, the committee's chairman and owner of his 1929 picture Bath Night (Bolton Museum and Art Gallery), to be reconsidered for even periodic commissions.Three instructions from the War Artists' Advisory Committee were to follow with the first, Munitions Factory (1940, City of Salford Museums and Art Gallery, Manchester), capturing the fraught environment at the Woolwich Arsenal. The present work is a detailed preparatory version for that oil painting and is almost identical in composition. Numerous tradesmen including mechanics, welders and plate-cutters scramble to complete work on an anti-aircraft gun assembly line as the country rises to the challenge of competing with German military might. Their manner has the sense of quiet confidence about it as respective trades come together to fulfil the requirements of the nation at a time of emergency. It was a natural subject for Roberts of course who himself had worked in a Tufnell Park munitions factory during 1915 and manages to successfully incorporate his expertise into the composition whilst at the same time giving centre stage to the individual workers.The Control Room, Civil Defence Headquarters (City of Salford Museums and Art Gallery, Manchester) followed in 1942 and echoes Roberts' preoccupation with the everyday man and woman playing their part in the war effort. In stark contrast to the raw industry of Munitions Factory, this painting transports us into the secret world of intelligence gathering where suited men study a large colourful map of London, divided into sectors whilst telephone operators pass on incoming messages. The final work, A Station Scene in Wartime (1942/43) was executed in watercolour showing a busy platform with men, women and children waving goodbye to one another, evoking the personal strains and emotions placed on family life during wartime. An ironic victim of the conflict itself, this work was destroyed in enemy action shortly after completion.In June 2018 Bonhams offered William Roberts' Demolition Squad (circa 1941 and sold for £125,000) which, although not an official commission from the War Artists' Advisory Committee, also demonstrated the artist's interest in portraying daily life during the conflict. In this work, the finished oil for which is held in the collection of the Guildhall Art Gallery, City of London, the setting is a blitzed building, most likely Christopher Wren's Christ Church Greyfriars in Newgate Street, which was almost totally destroyed in the intense air raid of 29th December 1940.We are grateful to David Cleall and Bob Davenport for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Keith Vaughan (British, 1912-1977)Head Study signed and dated 'Keith Vaughan 1946' (lower right)gouache, charcoal, pen and ink17 x 23.9 cm. (6 3/4 x 9 1/4 in.)Footnotes:ProvenancePrivate Collection, by 1946Their sale; Phillips, London, 17 July 2001, lot 94Sale; Sotheby's, London, 24 October 2005, lot 124Private Collection, U.K.ExhibitedLondon, Olympia, Keith Vaughan, February-March 2002, cat.no.KV397London, Osborne Samuel, Keith Vaughan, Paintings and Drawings, 24 May-23 June 2007, cat.no.30We are grateful to Gerard Hastings for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Sir William Nicholson (British, 1872-1949)Alcazar Gardens oil on panel32 x 40.5 cm. (13 x 16 1/8 in.)Painted in 1933Footnotes:ProvenanceWith The Leicester Galleries, London, 1943Collection of Gordon Binnie by 1956, thence by family descentPrivate Collection, U.K.ExhibitedLondon, The Leicester Galleries, Paintings by Sir William Nicholson, April 1943, cat.no.26Hove, Hove Museum, An Exhibition of Work by Sussex Painters: Past and Present, 16 June–16 September 1951LiteratureLillian Browse, William Nicholson, Rupert Hart-Davis, London, 1956, p.104, cat.no.446 (dated 1935)Patricia Reed, William Nicholson: Catalogue Raisonné of the Oil Paintings, Yale University Press, London & New Haven, 2011, p.531, cat.no.685William Nicholson's Spanish paintings of the 1930s are mainly associated with Malaga and the hills above the port: Plaza da Torres, Malaga (1935, Tate Britain) and the area around Segovia: The Road to Zamarramala (1936, Sheffield City Art Gallery) where he travelled with the novelist Marguerite Steen, who later wrote his biography. However Nicholson's first experience of Spain was a six week stay in Seville, January-February 1933. He was in the company of his old friend and patron, Mrs Ada Pringle, who had already made several visits to Spain. As she was recuperating after an operation they did not go far from their hotel in the centre of town.Seville, the birthplace of his favourite artist, Velazquez, delighted Nicholson. It was also his first introduction to Moorish design and architecture, and he paid frequent visits to the Alcazar and its gardens. Made up of a series of compartment gardens that had evolved over the centuries and planted with myrtle hedges, orange groves, roses and many species of palms that Nicholson had never seen before, the whole area was overgrown and full of mystery.In the present work Nicholson has cropped the image in order to focus on the trunks of the palm trees – the oldest trees known to man. A Pindo palm or Jelly palm (Butia Capitata) appears left of centre, its trunk is covered with the stubs of dead palm leaves, their descendants – feathery palm fronds, curving gracefully down to the left. Unidentified palms to left and right with the diagonal of what is probably a young palm of the tall, spindly type with fan-shaped leaves that Nicholson had featured in Bombay Landscape and Bombay Outskirts (both 1915), and also in his pen and ink street scenes of 1920, such as Place de la Liberté (Sold in these rooms, 11 November 1999, lot 227). In the shadows of the middle distance (right) a couple move along an unseen path – the woman in a purple kaftan and the man in a striped shirt. The foreground left is animated by a pair of white doves. The limited palette, use of impasto and strong shadows add to the drama. We are grateful to Patricia Reed for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Naunton (Sir Robert) Fragmenta Regalia, first edition, first issue with "father" for "mother" on verso of second f. (corrected in pen), title with woodcut decoration, E4 and G1 with some restoration to lower margin, not affecting text, scattered spotting, book label to pastedown, 19th century half calf by Hering, rubbed and scuffed, [Wing N249 & N250A], small 4to, 1641.⁂ A good account of Queen Elizabeth's courtiers, including Sir Robert Cecil, Sir Walter Raleigh and Sir Philip Sydney. Provenance: Alexander Beresford Hope (1820-1887, author and Conservative politician, book-label).
![Lactantius (Lucius Coelius Firmianus) Opera, collation: [*12 a-l10 m8 n-q10 r12 s-v10 x8], 215 ff. (of 220, lacking initial a](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/8e22719c-a8ed-414f-94c7-ac5d011c555a/468x382.jpg)
Lactantius (Lucius Coelius Firmianus) Opera, collation: [*12 a-l10 m8 n-q10 r12 s-v10 x8], 215 ff. (of 220, lacking initial and final blank and ff. *12, 167, 213), 38 lines, Roman and some Greek type, 9 gilt opening initials with interlaced white vines on pink, blue and green and gilt and pen bezants, the first of which ornately decorated in margins and with arms at foot, other initials and paragraph-marks in red or blue, early ink marginalia in several hands (some trimmed), lower margins towards end with small wormhole (diminishing in size, with a few repaired), some staining and spotting, handsome 19th century richly gilt and blind-stamped russia, spine faded, rubbed at extremities, g.e., folio (299 x 211mm.), Rome, Conradus Sweynheym and Arnoldus Pannartz, 1468.⁂ The second book to be printed in Rome, and the first Roman edition of Lactantius. It includes Lactantius's poem on the phoenix, together with extracts from Ovid's Metamorphoses and Dante's Commedia on the same subject (Dante's earliest appearance in print). Provenance: Bernardinus Martinengus, 'at present living in Cyprus' (inscription recording gift to:) Stephanus de Perarie, a Dominican professor of theology; another hand notes that the gift was made at Nicosia on 3 'Madii' [?March? or May?], 1482, 'after lunch'; Salomon Crubelerius, minister in holy orders, recording the gift to him of the book by 'the noble Lord of Malmont, doctor of laws' (inscription dated 27 March, 1612); J. H. Burn, March, 1931 (book label). Literature: BMC IV, 4; Goff L-2; GW M16542; HC 9807*; Bod-inc L-003; BSB-Ink L-3; ISTC il00002000.
Holbein (Hans) Imitations of Original Drawings... in the Collection of His Majesty, for the Portraits of Illustratious Persons of the Court of Henry VIII. With Biographical Tracts, 1792 [-1800] bound with [Court of Francis II], [n.d.], together 2 works in 1 vol., 92 colour-printed stipple engraved plates on 93 leaves, 45 on pink paper, Thomas More detached, occasional creasing, finger-soiling, 19th century red half morocco, rubbed, g.e., [Abbey Life 205-206; Lowndes I 405], folio.⁂ The originals, in chalk heightened with pen and metal-point, were made by Holbein during his two sojourns to England. They constitute preliminary studies for several of his most famous oil paintings. The drawings were originally in a volume now preserved in the Royal Library at Windsor Castle, called the Great Booke.
![Burlaeus (Gualtherus) [Walter Burley] De vita et moribus philosophorum [short edition], collation: [a6 b-i8 k6], 75 ff. (of 7](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/4a0f3139-6fc3-4f10-bdd7-ac5d011bbac9/468x382.jpg)
Burlaeus (Gualtherus) [Walter Burley] De vita et moribus philosophorum [short edition], collation: [a6 b-i8 k6], 75 ff. (of 76, lacking initial blank), 35 lines, Gothic type, a few initials in pen and red or plain pen, initial strokes in red, initial blank replaced with a 15th century manuscript f. in a cursive hand 'Hic est gesta et dicta secundi phi.', rubricated recto, early ink marginalia in a few hands, including fingerposts, k5 repaired hole in text, k6 torn with significant loss to text and repaired, a few marginal repairs, water-stained, some spotting, 19th century boards, rubbed, folio (278 x 188mm.), [Nuremberg], Friedrich Creussner, 30 June, 1479.⁂ Rare edition at auction of this collection of ancient writers with excerpts, including Aristotle, Archimedes, Euripides, Homer, and Virgil. Walter Burley (c.1275-1344) English philosopher and logician and fellow of Merton College Oxford (until c.1310) and the Sorbonne. Provenance: 'Caesarei Collegii Soc; Jesu Prag.' (later ink inscription to head of a2); M.H. Bloxam (ink inscription to front free endpaper, dated January, 1842). Literature: BMC II, 451; Goff B-1321; GW 5787; HC 4124; Bod-inc B-612; BSB-Ink B-995; ISTC ib01321000.
![Dugdale (Sir William) Monasticon Anglicanum, [abridged translation by James Wright],3 parts in 1, title in red and black, 14](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/3ac31319-162d-47d3-a29f-ac5d011bde65/468x382.jpg)
Dugdale (Sir William) Monasticon Anglicanum, [abridged translation by James Wright],3 parts in 1, title in red and black, 14 engraved portraits only (of 15), extra-illustrated with 13 early 19th century original watercolour drawings on 12 sheets, one in colours signed M.B.Sturges c.235 x 270mm. (folding), the rest pen and ink with grey wash signed M.B.Rouse and smaller, also several additional engravings tipped in or inserted, contemporary ink manuscript notes to front free endpaper, verso of title and bound at end, some soiling, one plate stained, contemporary panelled calf, rubbed, a few scratches, corners worn, rebacked and repaired, [Wing D2487], Sam. Keble, 1693; Monasticon Anglicanum, first edition, engraved additional architectural title by Wenceslaus Hollar, title in red and black, 53 engraved plates by Hollar and others, 2 double-page and/or folding, one with letterpress to verso, one folding plate torn at fold (repaired), a few spots but generally clean, old ink manuscript notes mounted on front pastedown, bookplate of M.H.Bloxam, contemporary mottled calf, a little rubbed and stained, corners worn, rebacked, [Wing D2484], Richard Hodgkinsonne, 1655; and an 1846 edition in 8 volumes, folio; sold not subject to return (10)⁂ The additional watercolours depict mostly ecclesiastical buildings or ruins, the main one being a 'View of the Ruins of Sopewell Nunnery, near St.Alban's in Hertfordshire'.
A PAINTED AND LACQUERED PAPIER MACHE PEN BOX (QALAMDAN), KASHMIR, 19TH CENTURY of cigar shaped form, with sliding compartment, the exterior painted with flowers and Persian inscriptions in nastaliq script, the interior with brass inkwell and spoon 21cm long The inscriptions on the sides have been translated: 'God willing you live in /this world with excellent destiny/good fortune, wealth and young hearth always' & 'Oh! Almighty who controls the destiny of this world/If there is no grief from your side/so also/We do not have sadness.' The end inscriptions translate: 'Amal ('work of') Safdar Mughal', and a date '10th March [?]70'.
JOHN SKELTON MBE, FRBS (1923-1999) - SEATED FEMALE NUDE, SIGNED AND DATED 1976, PEN INK AND RED WASH ON COLOURED PAPER, 26.5 X 20CM AND THREE OTHER DRAWINGS BY THE SAME, ALL SIGNED AND VARIOUSLY DATED, ONE DEDICATED TO THE LATE OWNER WITH AN AUTOGRAPH NOTE SIGNED, DATED 1987 (4) The lot in good condition
A VICTORIAN ROSEWOOD INLAID AND PEN WORK BOW CENTRED WRITING TABLE WITH TOOLED LEATHER TOP, ON SQUARE TAPERING LEGS, 74CM H; 106 X 64CM Item heavily faded in places, leather top heavily rubbed and scuffed, numerous scuffs and scratches to edges consistent with age and use, otherwise good solid condition
A VICTORIAN COMMEMORATIVE PEN KNIFE, ENGRAVED VICTORIA THE GOOD ... THE RECORD REIGN IN BRITISH HISTORY 1837-1897 AND STAMPED WITH CROWNS, 85MM L, BLADE MARKED JOHN WATTS SHEFFIELD, ANOTHER FOLDING KNIFE AND AN EDWARDIAN MOTHER OF PEARL LETTER KNIFE WITH HORN SHAPED SILVER HANDLE, MARKS RUBBED, BIRMINGHAM 1906 (3) The second pen knife with cracked scales, the two other items in good condition
GEOFFREY KEY (1941 - ) - HEAD OF A GIRL; FEMALE NUDE, TWO, BOTH SIGNED AND DATED 1.4.81 OR 25.1.81, PEN AND INK, 54 X 37CM AND 40 X 28.5CM Both long undisturbed in the present plain wood or ebonised frames, dusty. Smaller drawing slipped in the frame. Note: larger drawing on lower margin two green marks which are not on the surface of the work but on the glass only
Ephemera An interesting collection of ephemera relating to Captain Arthur Rickards of the 1st Dragoon Guards (following Eton and Christchurch, Oxford), includes a large quantity of 19th and early 20th century letters, addressed to the Captain at his North Berwick, Acton and Carlton Club addresses, many from dignitarys of the time, several from Lord Minto, others from Kensington Palace, Lord Beresford, The Privy Council, e.g., 'Dear Rickards, This is my new abode & office: the door is in Downing St. - please come and see me. I am glad to hear you are so much better. As an old soldier you must be dying to be at the Boers! ... (31 Oct 1899), also includes cropped signatures, a Licence for Armorial Bearings, Garages, Dogs and Male Servants (1916), receipts, two engraved bookseller's bill heads, empty envelopes, photographs and an interesting hand-made folding item, possibly a game of chance, composed of a pen, ink and watercolour figure, in eastern dress, behind a table with numbered bottles and smaller items, surrounded by numbered panels, twelve linen-backed sections (qty)
Ransome (Arthur) A signed autograph note, from Arthur Ransome explaining that 'Titty is short for Tittymouse which is what she was called when ...' he then goes on to identify the lake in his stories. It appears that he had also been asked for a photograph, to which he responds 'Too ugly', manuscript ink on a card with various printed illustrations in the margins, card 142mm x 88mm; A small card with a miniature pen and ink sketch of a sailing boat, signed by Arthur Ransome, card 49mm x 83mm; in original envelope addressed to Miss Joyce Cartmell, postmarked 1939 (the smaller card has been removed from lot 3013 which was compiled by Miss Cartmell. It is believed that it was sent at the same time)
Shepard (Ernest Howard) - Original Artwork Christopher Robin, a small pen and ink sketch of Christopher Robin, signed by the artist, on card 105mm x 60mm, together with a manuscript note 'with [heart] and xx from Christopher Robin' on paper headed with the artists 'Long Meadow' address and telephone number, both items mounted in an autograph book compiled by Miss Joyce Cartmell from 1937 onwards, the book also contains mounted signatures of John Buchan and Gracie Fields
CIRCLE OF HENDRIK GOLTZIUS AFTER POLIDORO CARAVAGGIO (DUTCH 1558-1617) OLYMPIAN GODS, DOUBLE SIDED pen and ink on paper, unframed(16cm x 19cm (6.25in x 7.5in))Footnote: Note: These studies relate to a group of monochrome frescoes by Polidoro of eight Olympian gods in niches that adorned the façade of a house on the Quirinal Hill, Rome. The frescoes are now lost but were recorded in print by Goltzius in 1592. Provenance: Bears the collector's stamp of E. Fabricius, a collector of works by Goltzius (active in Berlin, circa 1920).
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