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Lot 469
A 19th century leather bound album, written in pencil to the opening page, 30 in total, pencil and body colours, miniatures, Twain family 1830s, 19 of women, further initialled EJ and dated 1836, the contents being various profile portraits, many initialled and dated from the 1830s, in varying sizes
![A Lot of four vintage revolving pencils which includes a rare [possibly gold] Mordan & Co highly detailed engraved revolv](https://cdn.globalauctionplatform.com/a29f2876-7b06-4bb6-8595-ac0200872d36/d3518142-4ba9-444b-bb94-ac060095fa32/468x382.jpg)
Lot 167J
A Lot of four vintage revolving pencils which includes a rare [possibly gold] Mordan & Co highly detailed engraved revolving fountain pen/ pencil designed with a blood stone agate seal to the top. Wahl Eversharp Sterling silver pencil, Sterling silver and enamel pencil holder produced by G.V & Co. [As found] and a plated revolving pencil.
![Charles Rowbotham [1856-1921]Original pencil sketch of a young boy reading, signed and dated 1875. [frame 30x27cm]](https://cdn.globalauctionplatform.com/a29f2876-7b06-4bb6-8595-ac0200872d36/c3130a90-99ea-4f76-9186-ac06009e99e1/468x382.jpg)
![A Limited edition [62/100] print titled 'Dalwhinnie distillery' Signed by the artist Simon Cook in pencil and dated 94.](https://cdn.globalauctionplatform.com/a29f2876-7b06-4bb6-8595-ac0200872d36/f536b005-9e84-4816-b280-ac0600d77c75/468x382.jpg)
![A Limited edition [2/850] print titled 'The Tay at Sunset' by Harry McGregor. Signed in pencil by the artist.](https://cdn.globalauctionplatform.com/a29f2876-7b06-4bb6-8595-ac0200872d36/0d3e3504-8e23-4427-a7f7-ac0600db015f/468x382.jpg)
Lot 1898
Topography & History, Essex painted by L. Burleigh Bruhl, 1909, The Great Tide, Hilda Grieve, Arcadia for All, Dennis Hardy, Tramways in Essex Vol 1, Tramways of Southend on Sea, England East, Sydney R Jones together with a pencil sketch from the book, Cotbank and its Folks illustrated by H.C. Preston, (8)
Lot 505
The 'SA-30 Collection' - 30 exceptional vehicles chosen to celebrate 30 years of the Silverstone Classic and all excitingly offered at No ReserveNumber 255 of 500 examples of the ultimate super-saloon and road-going DTM carOne owner for 30 years and just 26,056 miles (41,934km) from newShort-stroke,16v, 2.5-litre, 4-cyl with an AMG Power Pack producing 235bhp at 7,200rpmPresented in gleaming 'Blauschwarz' (blue/black) metallic with an array of spoilers, splitters, skirts and air damsWhilst aesthetically pleasing these dramatic aerodynamic aids are strictly functionalClassic nineties black leather cockpit, Teutonically efficient yet immensely comfortableOn offer from a private collection and for sale publicly for the first time since newRare opportunity to acquire an example of Mercedes' most radical road car since the Gullwing 25 years ago, the 190 E 2.5-16 Evolution II thrilled professionals and the general public alike when it was unveiled at the Geneva International Motor Show and legend has it that the entire limited run of 502 cars was sold pre-launch, possibly being squirrelled away by international car collectors. The bitter rivalry between BMW and Mercedes-Benz in saloon car racing throughout Europe helped hone the greatest 'touring cars' of the era and the Evo II was pitted against one of the best touring cars of all time, the E30 M3. A compromise was out of the question and the full-race car, developed for Group 'A' using this sports saloon as a basis, went on to acquire legendary status. Mercedes-Benz took the first three places in the DTM championship in the 1992 season with this remarkable vehicle, which henceforth is referred to, in revelation, as the "Evo II".The engine's output had been raised once again in comparison to the first Evolution model from the previous year, the Evo II now generating 235 horsepower. Top speed was 250 km/h, and the Evo II accelerated from a standing start to 100 km/h in 7.1 seconds. The body had also undergone further refinement on an aesthetic and aerodynamic level and the car's sporting pedigree was emphasised by its muscular stance. In this form, the 190E finally had the match of the M3, and while it was never as naturally gifted as its rival, the brutal and unrelenting way it delivered its performance, and its devotion to technological supremacy, set a precedent for Mercedes performance models that can be traced right the way through to today.The Evo II's body kit is perhaps the most outrageous ever applied to a production car, and the fact it was a product of the ultra-conservative world of early ninety's Mercedes-Benz is even more incredible. The ostentatious, fully adjustable rear spoiler was aerodynamically perfect and its front splitter would make a decent job of cutting the grass, however, despite outward appearances, the Evo II is a comfortable and tractable daily driver.The 255th of 500 built, this Evo II Homologation special-edition is no disappointment and exceeds expectations on every level. Firstly, there is the way it looks. Legend has it that BMW redesigned its wind tunnel after seeing the Evo II race car and none of the excitement has been lost on the road car. With its stunning "Blauschwarz" (blue/black) metallic bodywork devoid of any decals, and with number plates fitted instead of sponsors' logos, it's arguably even more dramatic.The build quality is pure Mercedes-Benz at their best and nothing has been compromised. The full-leather sports seats are both supportive and comfortable, the centre console has a full accompaniment of switches including air-conditioning and electric windows and, with only 26,056 miles (41,934km) from new, the interior wears its 30 years almost imperceptively.All but the first 1,000 of these kilometres were covered by one collector-owner over the last 30 years. Speaking volumes for its ability to be an exciting 'road-going' racecar, without the compromises that this usually entails, is the fact that this owner seems to have used this car more than almost any other in his truly world-class collection. But here is an example that offers the perfect balance of low miles and usability, and has been cherished in one of the world's finest car collections. With growing interest in historic motorsport, has come renewed interest from collectors in the cars that were homologated in order to allow some of the greatest saloon cars of all time to go racing in the first place. This Evo II ranks among the most visually striking of all the homologation specials and warrants pride of place in any collection. But more than that, whilst most of us would love to have an E30 M3 Johnny Cecotto or Robert Ravaglia in our garage, that's where they would be kept. The 250-16 Evo II deserves to be in a large architect-designed, glass-walled space in your house on a raised plinth lit by pencil spotlights. A piece of modern art, Form and Function in perfect harmony.You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Harry Whale on 07919 887 374 / harry@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: NOVAYear: 1992Make: Mercedes-BenzModel: 190E 2.5-16 Evolution IIChassis Number: WDB2010361F740599Odometer Reading: 41934Engine Capacity: 2463
Lot 516
The 'SA-30 Collection' - 30 exceptional vehicles chosen to celebrate 30 years of the Silverstone Classic and all excitingly offered at No ReserveStunning looks, sculpted interior, creamy V6, manual box and four-wheel driveUK-supplied in right-hand drive and first registered on 01/09/2006Finished in Alfa Red with black leather and 18", 7-hole design alloysJoined our vendor's collection in March 2009, as just the second ownerVery hard to find, with only three 3.2 V6 Q4s available for sale in the UK at the timeComprehensive history with five services listed + a geometry check34,338 miles fully supported by MOTs from the first on 08/09/2009 at 14,814 milesMost recent MOT 11/06/2020 with no advisoriesOriginal Alfa book pack with service and warranty booklets, owner's manual, sound system manual etc. and a copy of the original sales brochureVAT qualifying, so 20% to be added to the hammer price"For the Alfa Romeo Brera, Giorgetto Giugiaro set out to look within himself, fine-tuning the concept of a contemporary, elegant, refined and essential car that could stand as the quintessence of the brand and its history and express technological development, though compressed into an almost intimate and discreet blend: the very requirements of elegance and classicism, of objects that are designed to last in time." (Ital Design).That was a direct quote from the advanced publicity for the Brera Concept in 2003 and could easily be dismissed as 'marketing-speak', however, we all know that when the boys at Alfa dip into their pencil box, the result is usually rather special and, when the production version of the Brera arrived late in 2005, it was met with uniform praise for its exterior and interior styling.It was never meant to be a road-going car - it actually started life as an Ital Design concept car based around a Maserati in 2003, however, Alfa submitted to demand and went ahead with a production version. Developed alongside the 159, the Brera shares exterior and interior styling cues, as well as engines and gearboxes.Launch engines were a choice of 182bhp 2.2-litre and a spine-tingling 256bhp 3.2 V6 petrol engines (utilising GM blocks with Alfa's magic added and bespoke heads) or a 2.4 diesel with 200bhp and 295lb ft of torque. The standard gearbox was a six-speed manual, although the 2.2 could be specified with optional Q-Tronic auto. The 3.2 V6 was very much the performance option and featured four-wheel drive with a Torsen diff, unlike the front-wheel-drive 4 cylinder cars.The fabulous example on offer from the SA30 Collection is a super rare UK-supplied, right-hand drive, top of the Brera range 3.2 V6 JTS Q4 with a 6-speed manual gearbox. It dates from 2006 and is finished in classic Alfa Red with a black leather interior and optioned with 18",7-hole design, alloys.From the comprehensive history file, we can see that it was first registered on 1/09/2006 and joined our vendor's collection on the 24/03/2009 with the one previous owners listed. We understand from our vendor that such was the demand for these sought after Alfas that he had to scour the UK to find one with only three being available at the time.In addition to always being comprehensively maintained by our vendor's in house team, the service record is fully stamped and shows the following;23/08/06 Pre-delivery services23/05/08 1st Service @ 8,732 miles16/03/09 2nd Service @ 12,345 miles19/08/10 Steering and geometry check8/11/14 Oil and Filter change @ 29,995 miles17/12/15 Oil and Filter service @ 32,082 milesThe mileage at the time of cataloguing was 34,338 miles. Within the file are older MOTs going back to the very first, on 8/09/09 @14,814 and the most recent which was issued on 11/06/20 with No Advisories. The original Alfa Romeo Book Pack is immaculate and contains the Service and Warranty Booklet, the Owner's Manual and the Sound System Manual. Pleasingly there is a mint copy of the original Brera/Spider brochure.As you can see from the other cars in the SA30 Collection, over vendor is particularly fastidious when it comes to the condition of his cars and this Alfa is no exception. It presents beautifully outside, inside, under the bonnet, in the boot - everywhere and we think that you would have to go a long way to find a better one. There can be no doubt that this must be a guaranteed 'future classic', with so many great ingredients.NB; The car is VAT qualifying, so 20% needs to be added to the hammer price.You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Harry Whale on 07919 887 374 / harry@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: PX56 UHVYear: 2006Make: Alfa RomeoModel: Brera 3.2 V6RHD/LHD: RHDChassis Number: ZAR93900005002467Odometer Reading: 34338Engine Capacity: 3195Engine Number: 2297
Lot 140
Silver propelling pencil by William Manton Birmingham 1951 and a further pencil with seal tip, Sterling Silver woven bracelet, Sheffield & Dist. Table Tennis League silver medal fob dated 1935, other silver, vintage and modern costume jewellery in faux leather jewellery box and other boxed sets Condition Report Click here for further images, condition, auction times & delivery costs
Lot 152
A selection of assorted pens, to include a Mordan Everpoint silver propelling pencil, hallmarked London, two Swan fountain pens with nibs marked 14ct, a Parker Duofold fountain pen, a Sheaffer fountain pen with nib marked 14K, a Waterman's lever filler fountain pen, (a/f), etc. Condition Report Click here for further images, condition, auction times & delivery costs
Lot 334
'The View From The Boundary' by John Blakey, autographed print, signed in pencil by R Illingworth, D B Close, F S Truman and Geoffrey Boycott, limited edition 685/700, also signed by the artist in pencil, 51cm x 46cm (excluding frame) Condition Report Click here for further images, condition, auction times & delivery costs
Lot 335
Rugby Union - after Stephen Doig Grand Slam Victory 1995 Ltd.ed.print 492/850, signed in pencil by artist, Rob Andrew and Will Carling, after Terence Macklin England 15-New Zealand 9. Ltd.ed.print 72/750, signed in pencil by the artist, with ticket, and a signed photo of John Conteh, 83cm x 64cm max (3) Condition Report Click here for further images, condition, auction times & delivery costs
Lot 250
HENRY WILKINSON "Golden Retriever and English Partridges", limited edition 21 of 100, etching, signed and numbered in pencil, 27.5cm x 37.5cm, mounted in a glazed gilt decorated frame, and a similar Sportsman with "Golden Retriever Retrieving a Phea sant", No.42 of 150, 16.5cm x 19cm, mounted in glazed oak frame (2)
Lot 353
* Cantagallina (Remigio, circa 1582-1656). View of Pesaro, pen and brown ink on laid paper, with watermark of crossed arrows surmounted by a six-pointed star (similar to Briquet 6299, according to whom this paper was known to be in use in Rome between 1527 and 1566), double-rule outer border in matching brown ink, tipped onto later laid paper, with additional double framing lines in brown ink, sheet size 146 x 218 mm (5.75 x 8.6 ins), window-mountedQty: (1)NOTESProvenance: Probably from an album of 105 drawings of Tuscan views, mostly by Cantagallina, inscribed ‘Vedute di Toscana d’Jacopo Ligozzi’, and with provenance as follows: The Rev. Dr. Henry Wellesley, Oxford; his posthumous sale, London, Sotheby’s, 25 June 1866 onwards, lot 954 (‘A Portfolio with leaves, containing 105 drawings in Pen and Sepia, Views in Tuscany, by Jacopo Ligozzi’); Sir David Kelly, London; his sale, London, Hodgson’s, 26 November 1954, lot 596 (‘Original Sepia and Wash Drawings of Scenery, Antiquities, Buildings etc. of Tuscany by Jacopo Ligozzi, Remigio Cantagallina and others’); Hans M. Calmann (1899-1982), London; Private Collection, Herefordshire, UK. The present work is accompanied by a card sheet (used to protect the drawing) with a presentation inscription in pencil to the present owner 'With all good wishes for Christmas and a Happy New Year from Hans & Gerta Calmann. I hear you have a liking for Pesaro'. Hans Calmann, a stockbroker by profession was born in Hamburg, but forced to flee Nazi Germany for England in March 1937. In 1941 he opened a gallery in Davies Street, London, later moving to Bruton Place in 1963, where he remained until his retirement in 1973. Calmann presented drawings by Parmigianino, Mola and Cantagallina to the Ashmolean Museum, amongst other works. Ramigio Cantagallina was born in Borgo San Sepolcro, near Arezzo in 1575, and spent the majority of his career in Florence. Influenced by Northern artists such as Paul Bril, Cantagallina himself influenced landscape artists working in Florence in the first half of the 17th century, including Jacques Callot. According to Filippo Baldinucci, Cantagallina was 'celebre in disegnar paesi a penna' (famous for his landscape drawings in pen). Finished landscaped drawings such as the present work are typical of his output, and were most likely intended as autonomous works in their own right. The landscape drawings are characterised by "an intimate feeling for contemporary life and trees with lively, twisting trunks and tightly defined clusters of leaves" (Italian Drawings from the Bick Collection, Dartmouth College, New Hampshire, 1971, catalogue no. 24. Given the provenance of the dealer Hans Calmann, this drawing is likely to have come from an album of landscape drawings formerly in the collection of the scholar and antiquary Dr. Henry Wellesley (1791-1866), nephew of the Duke of Wellington, that appeared in auction in London in 1954. Although titled 'Vedute di Toscana d' Jacopo Ligozzi', the album was in fact largely made up of highly finished drawings by Cantagallina, several of which were signed. The album was acquired by Hans Calmann, and the drawings were dispersed over the next few years. Examples are today in the Fondation Custodia (Frits Lugt Collection), Paris, the Ashmolean Museum, Oxford, Pierpont Morgan Library, New York, Princeton University Art Museum, Detroit Institute of Arts, National Gallery of Art in Washington, D.C., and elsewhere. See stephenongpin.com, Remigio Cantagallina, A Tuscan Landscape with Figures by a River (accessed 22 April 2020), from which the information on provenance has been sourced.
Lot 354
* After Annibale Carracci (1560-1609). The Drunken Silenus, circa 1595-1602, 17th century pen and brown ink over a counter-proof printed in pale red, on heavy laid paper, after the engraving by Annibale Carracci of his own design for the Tazza Farnese, the engraved silver dish made for Cardinal Odoardo Farnese, light additions in pencil suggesting some vine leaves as a covering for the genitals of the main serving satyr, inscribed in pencil to verso at head R. 1796, in an early hand (probably 18th or early 19th century), framed and glazed, with section of white card to verso to which is attached an old Sotheby's catalogue entry '154. Italian School, 17th Century. The Drunken Silenus, pen & ink, over red contre-épreuve', above which is attached another printed note 'Bought at Sotheby's date 20.7.67 lot no. 154'Qty: (1)NOTESSee Bohlin Prints and Related Drawings by the Carracci Family (1979) 19. Carracci's original design for the standing dish, engraved on a silver plaque, is now in the Museo Nazionale, Naples, and was used for taking prints. The biographer Bellori gave the work the highest praise, saying it equalled Raphael and the 'idea piu perfetta' of classical antiquity.
Lot 356
* Dutch School. Designs for Metalware, circa 1720s-30s, 3 pen, brown ink and brown and grey wash studies for ewers or urns, on laid paper, two sheets bearing the watermark of Dutch paper manufacturer HW Schoen, with a motif of a lion rampant with a clutch of arrows within a crowned circle bearing the legend Pro Patria Eiusque Libertate to border, and Vryheit at foot, one drawing (with design in grey wash) with additional study of a bearded old man to verso in black chalk, one with overlaid alternative design for the top of the jug, the other two sheets mainly in brown ink and wash, some toning and discolouration, sheet size 285 x 195 mm (11.2 x 7.75 ins) or similar, the two sheets primarily in brown ink and wash both with additional pencil study of a vase to verso with annotationsQty: (3)NOTESThe paper maker H.W. Schoen was active in Zandijk between 1707 and 1743.
Lot 360
* French School. Courting couple, 17th century, sepia watercolour on paper, showing a young lady and gentleman in an interior, with another lady looking through a window to the left, and a vista of a large house beyond on the right, tiny chip to right-hand edge, 15.8 x 13.4 cm (6.25 x 4.25 ins), sometime laid down on card with border of black pen & ink lines and gold paper, attributed in pencil to lower margin 'Beaubrun', mountedQty: (1)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.
Lot 362
* Grimaldi (Giovanni Francesco, 1606-1680). Study of Trees in a River Landscape, pen and brown ink on laid paper, sheet size 290 x 202 mm (11.4 x 7.9 ins), tipped on to later backing paper, inscribed in an early hand at foot 'G.F. Grimaldi' in red/light purple pencil, additionally inscribed in a 19th century hand 'Bimbo cowl'Oua - Corrirdore dei Candellabri no 194 Museo Vaticano', together with another similar drawing by Grimaldi, a study of trees, pen and brown ink on laid paper, laid down on old laid paper with ruled outer border in brown ink, inscribed to lower margin of the backing paper in pencil in a 19th century hand 'Jean Francois Grimaldi, dit Le Bolognèse', and additionally inscribed in red pencil 'G.F. Grimaldi' in the same hand as the first drawing, early indecipherable ink mark to verso, sheet size 287 x 206 mm (11.25 x 8.1 ins)Qty: (2)
Lot 368
Attributed to William Young Ottley (1771-1836). Sketchbook from the artist's tour of Italy, circa 1791-99, 75 leaves of laid paper (cockerel watermark; countermarked 'D'), unfoliated, leaves [1-2] with pencil annotations in Italian and an architectural pencil sketch (somewhat faded), leaf [3] with annotated bookplate of Thomas Ashby and additional annotation 'Drawings by Wm Young Ottley' probably in Ashby's hand, 4 medial leaves left blank, the remaining 68 leaves containing 25 sketches in pen and brown ink over occasional traces of pencil and approximately 43 pencil sketches, nearly all rectos only (one sketch to a page; one pencil sketch double-page; one on verso), mainly studies after paintings but several apparently from life (including landscapes, clothed figures, and 3 sketches captioned 'Nature' and depicting a boy with a dog, a woman with a child on her back, and a crouching boy), 12 further sketches with legible manuscript captions (see note), tide-mark to upper outer corners gradually fading and receding but touching edges of image in about 10 cases, cords split between penultimate and final quires, first 3 leaves and final quire (6 leaves) with modern clear tape reinforcement in gutter, floral-patterned endpapers, contemporary Italian vellum binding with envelope flap, vellum soiled, tie perished, 4to (18.2 x 13.7 cm)Qty: (1)NOTESProvenance: 1. Thomas Ashby (1874-1931), British archaeologist in Italy and director of the British School at Rome (bookplate, with manuscript aquisition note 'Wey[?], Charing X Rd, 18/7/6, 2 vols, Vol 2'). 2. Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Ottley, the son of a plantation owner entered the Royal Academy in 1787, studying briefly under John Brown, and was in Italy from 1791 to 1799. After his return to London ' Ottley established himself as a writer, connoisseur, and marchand-amateur . He was elected a fellow of the Society of Antiquaries and, as a leading arbiter of taste, he advised others on the purchase of works of art' (ODNB). He was responsible for a number of ambitious art publications and in 1833 became keeper of prints and drawings at the British Museum. A number of the sketches have manuscript captions in Italian referring to the original work, the artist or its location, the inconsistencies in spelling suggesting a non-native author. These include 'Bologna, Domenchino [sic] in S. Agnese' (after Domenichino, Martyrdom of St Agnes; a section), 'Turino palazo [sic] Reale, Carlo Cignani' (after Cignani, Adonis and his Dog , cf. Palgrave, Hand-book for Travellers in Northern Italy, 1847, p. 20), and 'Tizziano [sic], palazzo Reale a Parigi' (after Titian, Venus Anadyomene ); briefer captions indicate originals by Guercino (the sketch depicting a woman holding a jug), 'Reggio' (presumably Raffaellino da Reggio), and Coreggio ('Coreggio a Parma'); the Palazzo Caprara and the Palazzo Bonfiglioli are cited as locations for originals which are otherwise unidentified.
Lot 369
* Picart (Bernard, 1673-1733). Jesus with the Samaritan Woman at Jacob's Well, brown and grey wash and pencil with black ink, on pale cream laid paper, inscribed in pencil to verso in a later hand 'Jesus & la Samaritaine', sheet size 323 x 215 mm (12.75 x 8.5 ins), tipped-on to old laid paper backing sheet, with ruled wash border, watermarked D&C BLAUW IV [circa 1750 or later], inscribed in another later18th century or early 19th century hand to lower right corner 'B. Picart'Qty: (1)NOTESProvenance: Possibly Collection of Alfred Beurdeley (1847-1919), French cabinet maker, whose collections were sold in over twenty auction sales between 1920 and 1921 (later pencil inscription to lower left corner of backing sheet); Friedrich Winkler (1888-1965), German art historian, director of the Kunstbibliothek Berlin, later curator of the Kupferstichkabinett Berlin, and author of Die Zeichnungen Albrecht Durers (1936-39); Eva Winkler Dencker (1923-2017), Los Gatos, San Jose, California (information on the Winkler ownership supplied in the catalogue entry for this work by Swann Galleries, Old Master Drawings, November 5, 2019, lot 98). This accomplished wash drawing depicts the crucial moment in this famous bible story (St. John's Gospel, Chapter 4, Verses 1-40), when Jesus reveals himself to the Samaritan woman as the messiah, with her dawning realisation of his message as the disciples return with food from the nearby village of Sychar. The present drawing is likely to have been intended for engraving and subsequent publication, possibly in one of Picart's many folio historical publications, such as the Ceremonies et Coutumes Religieuses , published in Amsterdam between 1723 and 1743.
Lot 370
* Attributed to Giovanni Antonio de' Sacchis, Il Pordenone ( 1483/4-1539 ). Design for a frieze of fighting putti, pen and brown ink with brown wash, heightened with white chalk on pale blue-grey paper, inscribed in brown ink to verso 'S.V. n:°66', additionally inscribed in pencil 'Giulio Campi I think JBS [James Byam Shaw], further inscribed (probably in a later hand) 'dal Pordenon', sheet size 130 x 207 mm (5.2 x 8.2 ins), mounted to cream laid paper, with triple rule ink outer border lines in coloured ink, window mounted, inscribed to verso of mount in pencil P.W. Ward-Jackson to upper right, and to centre 'Giulio Campi AEP thinks probably Pordenone' [in the hand of James Byam Shaw], framed and glazedQty: (1)NOTESProvenance: Zaccaria Sagredo, 1653-1729 (Lugt 2103a), renowned Venetian collector; Padre Resta ?; Private collection, Herefordshire, UK. The collection of drawings formed by Zaccaria Sagredo has been the subject of increased attention and study from the 1960s onwards. According to the substantial note in Lugt online, the collection numbered 8000 drawings, gathered mainly in 57 volumes, according to an inventory of 1738 now in the Museo Civico Correr Library, Venice. In 1762, some drawings and volumes of drawings were sold to the British Consul Joseph Smith (1682-1770), and his successor John Udny (1727-1800), including 4 volumes of drawings by Castiglione which were subsequently sold to King George III and now reside at the Royal Library, Windsor. Further drawings from 4 volumes of the Sagredo collection were later sold by Christie's, London, Sunderland Collection of Drawings by Old Masters; comprising works of the Italian, Flemish, and German Masters, formed originally by the Bonfiglio Family, of Bologna..., June 15, 1883. Literature: See Charles E. Cohen, The Drawings of Giovanni Antonio da Pordenone, Florence, 1980.
Lot 371
* Dutch School. Tobias and the Angel, first half 17th century, sepia pen & ink sketch on laid paper, some soiling and marks, further pen & ink sketches to verso (5 figure studies), 2 nicks in upper edge, sheet size 16.4 x 20.9 cm (6.5 x 8.25 ins), tipped onto early-mid 19th century laid paper watermarked 'JW', with contemporary pencil attribution 'Eckhout' to lower margin, together with: Hermit and dog, mid 17th century, sepia pen & ink drawing on laid paper (laid down on paper), of a man seated beside a tent with a dog, and a church in the background, toned and a little rubbed, sheet size 9 x 13.3 cm (3.5 x 5.25 ins), mounted, plus a late 16th/early 17th-century pen & ink sketch on laid paper, head & shoulders portrait half-profile to right of a bearded man in a hat, indistinctly inscribed in a contemporary hand to left-hand margin ' ? bouroy', sheet size 6.7 x 4.4 cm (2.5 x 1.75 ins), tipped onto laid paper and mounted on board, and a 17th-century pen & ink drawing on laid paper (laid down on paper) of a church procession, dust-soiled, 16.3 x 25.2 cm (6.5 x 10 ins), mountedQty: (4)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.
Lot 372
* After Jan van der Straet (Johannes Stradanus, 1523-1605). The Capture of Milan, from Mediceae Familiae Rerum Feliciter Gestarum Victoriae et Triumphi, 1583 [or later], an enlarged near-contemporary copy in pen, black ink, brown wash and brown ink and pencil on laid paper, early 17th century, 202 x 295 mm (8 x 11.6 ins), window-mountedQty: (1)NOTESSee New Hollstein 355; Baroni Vannucci, Jan van der Straet (1997), 691.12. An early copy in brown wash of the third plate in a series of eight depicting battles outside Tuscany, from the series of 20 engravings (plus title page) entitled Mediceae Familiae Rerum Feliciter Gestarum Victoriae et Triumphi, illustrating the various triumphs of the Medici family of Florence, which were engraved by Hendrick Goltzius and Philips Galle after Johannes Stradanus, and published by Galle in 1583. The British Museum has a Flemish copy of the motif of the horse tethered to the tree, taken from the same published engraving (SL, 5219.43).
Lot 375
* Venetian School. Bacchanalian wooded scene with sleeping Venus, Cupid and Satyr blowing horn, surrounded by putti leading a tiger & elephant, with satyrs attending, later 17th century, pen & ink, black chalk, and brown wash on laid paper, heightened with white, ink inscription 'Cyro Ferri' to lower edge, laid on 18th century paper/card with line border, inscribed in pencil to verso in a 20th century hand 'Luca Giordano/ Coll A.P. Oppé', 380 x 522 mm (15 x 20.5 ins), framed and glazedQty: (1)NOTESProvenance: Adolph Paul Oppe (1878-1957) (according to pencil inscription to verso of mount.
Lot 393
* Gole (Jacob, 1660-1737). Two Dancers in Costume, mezzotint on laid paper, with Strasburg Lily watermark, three marginal tears with slight loss to upper right corner (slightly affecting engraved area), and lower right corner (blank margin only), with collector's manuscript mark in pencil to verso 'TN7' (Lugt 2415), and with inscription below the image, also in pencil, possibly in the same hand 'Dancers in the reign of William & Mary', and further collector's manuscript mark to lower left corner below the image 'HCE 22' (Lugt 1299a, unidentified), plate size 260 x 340 mm (10.2 x 13.5 ins), sheet size 282 x 347 mm (11.15 x 13.75 ins), together with: Bang (Hieronymus, 1553-1630). Suite of 8 Putti, 8 copper engravings printed on 4 sheets, with watermark of a serpent coiled around a flower with letters NMH below, plate size 128 x 92 mm (5 x 3.7 ins), sheet size 119 x 330 mm (7.9 x 13 ins), plus other various Old Master prints, including Hendrick Goltzius (1558-1617), The Entombment, 1596 [or later], copper engraving on laid paper, trimmed to plate margins, Virgil Solis (1514-1562), Socrates Ridden by His Wife Xantippe, miniature copper engraving on laid paper, trimmed just inside the plate mark, a late copy after Federico Barrocci's Annunciation, 1585, without cat to left foreground, or engraved name of the artist to lower right corner, Pieter van Lisebetten (circa 163-1678), The Flaying of Marsyas after Jacopo Palma, and 26 later 18th and 19th century reworked or copied etchings after RembrandtQty: (40)
Lot 411
* Spilsbury (Jonathan, circa 1737-1812). Miss Jacobs, after Sir Joshua Reynolds, 1762, mezzotint on laid paper, the rare proof before letters, a rich, velvety impression, inscribed in pencil to lower blank area in a 19th century hand 'Miss Jacob - by Sir J. Reynolds - fine and rare proof by Spilsbury', plate size 505 x 355 mm (20 x 14 ins), with margins, antique-style black and gilt frame, glazed, with Thomas Agnew & Sons printed label to verso, and typewritten catalogue entryQty: (1)NOTESChaloner Smith (1883) 21, i/ii; Hamilton 111; O'Donoghue 1. The published state of this mezzotint obtained the highest premium in the year 1761, granted by the Society for the Encouragement of Arts, Manufactures and Commerce, as stated in the caption to the published state. The work apparently depicts the artists' model Esther Jacobs.
Lot 472
* Boyce (George Price, 1826-1897). Valley of Lledr, August 1st, 1849, watercolour and pencil on wove paper, signed in pencil lower right, and also inscribed in pencil to lower left, 'Valley of Lledr Aug 1/49 - G.P.B.', sheet size 200 x 298 mm (7.8 x 11.75 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Herefordshire, UK. This early watercolour study dates from the time of Boyce's first meeting with David Cox at The Royal Oak in Bettws-y-Coed, in the autumn of 1849, the moment at which Boyce decided to become a painter, after years of study as an architect. He was also introduced in the same year to Dante Gabriel Rossetti by Thomas Seddon, and was subsequently closely associated with the Pre-Raphaelite movement.
Lot 475
* Delamarre (Captain Adolphe Hedwige Alphonse, 1793-1861). Camels crossing the Alcántara Bridge, Spain, 1844, pencil and watercolour, depicting 2 camels and 2 figures, one mounted, traversing a partly ruined viaduct, with river below and boulders either side, inscribed by the artist in pencil upper left 'Alcantara dessiné d'un point pris en amont (1844)', 22.5 x 28.5 cm (9 x 11.25 ins), mounted, incorporating artist's name above and title below in black ink in a calligraphic hand, framed and glazed, with hand-written label of provenance to versoQty: (1)NOTESProvenance: Christie's, London, 12th June 2005, lot 129. The Museu Nacional d'Art de Catalunya in Barcelona holds a number of landscape watercolour drawings by Captain Delamarre.
Lot 476
* Drawings & Watercolours. Portrait of a young woman, 1875, pencil on wove paper, head study of a pensive young woman with her hair piled on top of her head, dated in pencil lower right '23 Jan 75', some minor marginal finger-soiling, sheet size 30.2 x 22.5 cm (12 x 8.75 ins), mounted, together with another head study of a woman, charcoal on laid paper with Michallet watermark, toned, pin hole to each corner, sheet size 30.4 x 23 cm (12 x 9 ins), mounted, plus a pair of Welsh landscape watercolours mounted together, each 12 x 16.5 cm (4.75 x 6.5 ins), and 7 others (5 duotone watercolours of cats by Derrick Sayer, 3 for Beverley Nichols' 'Cats' A.B.C.'; a pastel of 2 donkeys looking over a stable door by Christine Sapieha; and a watercolour of a wayside crucifix shrine), contained together in a large black cloth solander boxQty: (a portfolio)
Lot 478
* English School. An album of pencil drawings, 1850-1885, 74 pencil drawings (a few with watercolour) on 25 leaves of thick coloured paper, mostly figure and costume studies, some annotated with initials J.W.L., date, titles, place names (e.g. Monmouth, Newhaven, Conway Castle, St. Paul's, Albert Hall), including 3 of a woman painting at an easel, several of cats, some of peasant labourers, tipped-in on rectos only, typically several to a page, 23 x 14 cm (9 x 5.5 ins) and smaller, album leaf 25.5 x 37 cm (10 x 14.5 ins), leaves hinged at gutter with brown adhesive tape, bookplate of H.H. Harrod designed by G. Ledward on inside front board (no pastedowns), makeshift binding of boards covered with old brown paper, that to upper cover with early manuscript shelfmark label, oblong folio, together with An album of watercolours and pencil drawings, 1823-1867, 67 pencil drawings (a number with watercolour, some sepia) on 24 card leaves, mostly topographical studies of English buildings and places, including some landscapes, a few with figures, many titled, and some dated, e.g.: Mickleham Church, Surrey; Taring, Sussex; Dorking, Surrey; Ashford, Kent; Sessions House, Horsham; Salcombe, Devon; Thomas à Becket's House, Tarring; Burnham, Somerset; Rectory, Brighton; Nelley Abbey, Hampshire; West Gate, Canterbury; Wimborne Minster, Dorset; Hampton Court Palace, generally toned throughout, mounted on rectos and versos, mostly 1 or 2 to a page, some tipped-in over another, approximately 21 x 26 cm (8.25 x 10.25 ins) and smaller, sheet size 36 x 26 cm (14.25 x 10.5 ins), original black half morocco, worn, with deficient spine and upper cover detached, boards covered with old brown paper, that to upper cover with early manuscript shelfmark label and historic lot number label, folioQty: (2)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Henry H. Harrod was the author of several books of fairy tales, and son of the founder of Harrods, Charles Henry Harrod.
Lot 479
* English School. An album containing 41 studies of Continental & British landscapes etc., mid 19th century, including pencil views of the passes of the Alps, some after William Brockedon, such as Pass near La Thuille, View of Arc Valley from Saint-Michel-de-Maurienne, the ascent of the Little St. Bernard, and British views including Ben Lomond & Loch Ard, Matlock High Tor Derbyshire, St. Constantine's Cell, Derwent Water, etc. and few pen & ink studies including Castle of Ashby and interior of the Newcastle Castle Chapel, plus five watercolour studies of plants including passion flower and ivy, etc., mostly on artist card or thick wove paper, many mounted into album (some loosely inserted), all edges gilt, contemporary red velvet, gilt & blind blocked decoration to boards, upper joint split and near detached, worn, decorative brass clasp, folio (images approximately 240 x 180 mm and smaller)Qty: (1)
Lot 484
* Gigante (Gaetano, 1770-1840). Neapolitan landscape with monastery, 1836, pencil on paper, depicting a monastery set into a wooded hillside, with figures, including a monk, in the foreground, and a vista of mountains beyond, discoloured, edges a little chipped in a few places, signed and dated lower right, sheet size 29.1 x 44.6 cm (11.5 x 17.5 ins)Qty: (1)
Lot 491
* Howitt (Samuel, 1756/7-1822). Study of a wild goat in a landscape, watercolour on album leaf, depicting a goat lying on a rocky outcrop, signed lower right, titled to lower margin 'Capra Linn. Mus.', frayed to left-hand edge, sheet size 24.6 x 19 cm (9.75 x 7.5 ins), mounted, together with a sketchbook belonging to the artist, containing unfinished watercolours of a Morocco Ram and a Redtailed Monkey, and two pencil sketches of hares, Contents leaf in ink partially filled-in, remaining leaves blank (or with line border and pencil title below), stitching broken and original wrappers detached and soiled, enclosed by contemporary marbled boards, 4toQty: (2)
Lot 492
* Circle of Edward Lear (1812-1888). Italian landscape, pencil on grey wove paper, depicting a landscape with trees and arcaded building, possibly the Monastery of St. Scholastica, Subiaco, trimmed inscription upper left 'going into Sky/Trees in ... distance/[h]ighlights ', and further indistinct word to right-hand margin, sheet size 27.6 x 41.7 cm (11 x 16.5 ins), mounted, framed and glazedQty: (1)
Lot 494
* Loud (Arthur Bertram, 1862-1930). An album of drawings and watercolours, seven tipped-in drawings by Arthur Bertram Loud, comprising: a pencil sketch of a terrier, signed and dated 1914 lower left, and titled in pencil on album leaf below image 'A Faithful Friend'; a grisaille watercolour of an elderly woman entitled 'The Old Cottager', titled and signed in pencil to album leaf; a small pencil drawing of a terrier in profile mounted above a pencil drawing of the back view of a man on horseback, both initialled lower right, latter additionally dated 1910; a watercolour of two terriers lying down, pencil title 'Doggies' and signature on album leaf; a watercolour of stonework, garden gate, and path, dated Sept 28th lower left, pencil signature and title 'A Welsh Cottage' to album leaf; and a pencil drawing of a windmill, pencil signature and title 'The Old Mill at Waterloo' on album leaf, with several drawings by other artists direct on album leaves, comprising: A pencil sketch of a foliage sprig by Gertrude Jekyll, titled 'Sweet Bay' and signed by her in pencil; a watercolour by Arthur Kynaston (1876-1919), depicting a young lady and two naked children in a garden, signed lower right, additionally signed, dated March 1909, and titled '"Bloom of Spring"' in ink below image; a watercolour landscape with Florence Cathedral, entitled '"Florence at Evening"', signed by Muriel Burnett; and a pen & ink drawing by Winifred Cooper (1879-1931), of a wistful young lady leaning on the plinth of a statue of the Virgin Mary, within a frame of sunflowers incorporating three verses by Jean Moréas, signed and dated 1910 lower left, one page of manuscript quotations near front of volume signed 'Winnie' and dated 1908, remainder of album blank, album leaves 20.5 x 15 cm (8 x 6 ins), gilt floral endpapers, all edges gilt, original sheep, spine rubbed, spine ends and corners worn with loss, upper cover elaborately gilt blocked with a rose wreath and borders, 8voQty: (1)NOTESArthur Bertram Loud was a painter of portraits and landscapes, working mainly in oils. As a boy he was taught by his father, artist Charles Jones (whose surname he dropped in 1908 when he changed his name by deed poll). In 1880, at the age of 17, Loud entered the Royal Academy Schools, and he subsequently studied at the Académie Julian, arrriving there in 1883. He exhibited at the Royal Academy from 1884 onwards, and in 1890 followed in his father's footsteps by becoming an elected member of the Royal Cambrian Academy.
Lot 495
* Lundgren (Egron Sillif, 1815-1875). The Swedish Opera, circa 1850, pencil with watercolour, heightened with bodycolour, on brown wove paper, depicting a throng of ladies and gentlemen in an interior, 17 x 24.7 cm (6.75 x 9.75 ins), mounted, framed and glazed, with Maas Gallery printed label on versoQty: (1)
Lot 496
* Meissonier (Jean Louis Ernest, 1815-1891). Study of the facade of a medieval building, pencil and watercolour on wove paper, signed with monogram lower left, 55 x 45 mm (2.2 x 1.8 ins), hinged to window-mountQty: (1)NOTESProvenance: Eric Carlson (1940-2016), Professor of Art History at SUNY-Purchase, and art dealer in New York who specialised in 19th century French drawings and prints.
Lot 497
* Melville (Arthur, 1855-1904). A small archive of ephemera including a photograph by Frederick Hollyer, comprising: a platinum print head and shoulders portrait of the artist, image size 14.1 x 97 cm (5.5 x 3.75 ins), Frederick Hollyer's black ink studio stamp on verso of mount with 9 Pembroke Square address; a single pre-printed sheet headed 'Dr. to The London Necropolis Company' and completed in manuscript, pertaining to the artist's burial on 10th July 1909 (4 folds, a couple of tears); an auction catalogue pertaining to sale of the art collection of the late Arthur Melville to be held by Dowell's Ltd., No. 18 George Street, Edinburgh, 11th March 1922; an 11pp. folded typed report 'Arthur Melville's Executry' containing 'Abstract of Accounts' and 'Scheme of Division', by Messrs Scott-Moncrieff, Thomson & Shiells, C.A., Edinburgh, dated 14th May 1924; a 5pp. folded typed 'Inventory and Valuation of Oil Paintings, Water Colour Drawings, Sketches, &c., belonging to the Estate of the late Arthur Melville, A.R.S.A., R.W.S., within Dowell's Rooms, No. 18 George Street, made on the basis of probable sale values, 20th October 1924'; a ticket for entry to an exhibition of Melville's work at the Royal Glasgow Institute, September and October 1907; a copy of The Studio, Vol. 37 No. 158, May 15, 1906, containing an article about the artist, original printed wrappers, frayed, with some loss to spine ends, faint pencil ownership name to upper corner of front cover 'Mrs Melville', 4to; 2 exhibition catalogues of Melville's work, at the Royal Institute of Watercolours, 1906, and the Royal Glasgow Institute, 1907, and a few other ephemeral itemsQty: (12)NOTESScottish painter Arthur Melville is particularly celebrated for his innovative methods of working, especially his watercolour technique, which produced both an intensity of colour and dramatic treatments of light and form. He travelled widely, and is particularly prized for his oriental subjects. Frederick Hollyer (1838-1933), is well known for his portraits of artistic and literary figures such as William Morris, John Ruskin and Edward Burne-Jones.
Lot 501
* Prinsep (Emily Rebecca, 1798-1860). Brighton, Oct 1824, grisaille watercolour on paper, depicting seascape with sailing boats in the water and on the shore, and figures, with garments drying on nets in the foreground (trimmed to lower margin), titled and dated lower right, sheet size 13.4 x 18.3 cm (5.25 x 7.25 ins), mounted, framed and glazed, together with: Canterbury Cathedral, 17 Aug 1833, pencil on paper, showing part of the Abbey ruins, and the Cathedral, signed, dated, and titled to lower margin 'old arch of a fireplace Canterbury from Mr. Peel's garden', slight toning to upper corners, sheet size 18 x 27.7 cm (7 x 11 ins), mounted, Canterbury Cathedral, 19 Aug 1833, pencil on paper, signed, dated, and captioned 'from Mr. Peel's garden Canterbury Cathedral' in pencil to lower margin, slightly trimmed to top edge, minor adhesive marks to corners, sheet size 18.9 x 28 cm (7.5 x 11 ins), Governor's House, Dover Castle, 5 July 1833, pencil on paper, depicting a large dwelling with a horse-drawn vehicle on front and figures in the foreground, titled, dated, and initialled to lower margin, slightly marked to upper left corner, sheet size 15.5 x 27.2 cm (6 x 10.5 ins), mounted, Dover Castle, 18 July 1833, pencil on paper, depicting a view of Dover from the sea, with the white cliffs and the castle, titled, dated, and initialled to lower margin, sheet size 15.5 x 22.1 cm (6 x 8.75 ins), mountedQty: (5)NOTESAlthough an enthusiastic and skilful painter of English landscapes, scenes of domestic life, and portraits, little appears to be known about Emily (christened Amelia) Prinsep, who seems to exist in the shadow of her more well-known brother, James Prinsep (1799-1840), and others from her large and influential family. James was a scholar, orientalist and antiquary, as well as an expert in numismatics, who made his fortune in India and helped a number of family members rise to prominent positions in India. Amongst a great many other pursuits he was himself a talented artist, and studied architecture under Augustus Pugin. Two of Emily's other brothers, Thomas and William, were also accomplished artists.
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