![Cameron, Julia MargaretLittle Margie [Thackeray] 'Christ Kind', c.1865, albumen print, 34 x 26cm, laid onto original mount an](https://cdn.globalauctionplatform.com/1c32cd2c-9739-409c-b0e7-a8ef00d40838/b634d8af-52da-4b7c-f0fb-dde6c6fa5b97/468x382.jpg)
Cameron, Julia MargaretLittle Margie [Thackeray] 'Christ Kind', c.1865, albumen print, 34 x 26cm, laid onto original mount and signed by Cameron, framed and glazedNote: "When Julia Margaret Cameron took up photography in 1864, she passionately embraced allegory as her preferred artistic impulse and arranged her sitters in poses taken from classical literature, the Bible, contemporary poetry, and recent history. She called these photographs her 'fancy subjects'…" [Rosen, Jeff, Julia Margaret Cameron's 'Fancy Subjects', 2016, p.1]Julia Margaret Cameron's photograph of Little Margie, commonly known as 'Christ Kind', or Christ Child, is an example of Cameron's attraction to allegory in her work. Here, Cameron has recreated the Germanic Christkind - the infant Jesus who delivers presents to children on Christmas Eve. Margie Thackeray, the adopted granddaughter of William Makepeace Thackeray (and his great-niece), is pictured with her hair brushed out, almost to create a halo around her head, giving her an angelic appearance. Cameron's use of strong light catches the crown of the child's head, which is contrasted with the dark behind, again to create the perception of holiness. Julia Margaret Cameron certainly regarded her photography as an artform, writing to Sir John Herschel (father of the sitter in lot 295): "My aspirations are to ennoble Photography and to secure for it the character and uses of High Art…" [Rosen, p.2, quoting from Ford "The Cameron Collection]. To this end, Cameron manipulated her photographs to some extent. Cox and Ford write: "If parts of an image were unsatisfactory to her, she engraved lines onto the negative, scratched and painted the collodion, and doctored the image as necessary to suit her expressive needs." [Cox, Julian & Colin Ford. Julia Margaret Cameron: The Complete Photographs, 2003, p.50]. Similarly, Cameron chose to create a slight blur in many of her photographs, by not tightening her lens to the same extent as many photographers of the day, and eschewing devices such as head restraints for her sitters [Cox & Ford, p.50] This effect can again be observed in the diffusion of Margie Thackeray's hair.
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Cameron, Julia MargaretA Holy Family, 1872, albumen print, 34.5 x 26.5cm, unsigned, framed and glazedNote: Cox & Ford list this image as "A Study of the Holy Family", item 91 in their work Julia Margaret Cameron: The Complete Photographs, p.154. It is a very unusual image to find, featuring Cameron's maid, Mary Hillier, the boy, Freddie Gould, and an unknown girl.
Railway photography: Ottoman Company Dubbs & Co., Glasgow Locomotive CompanyAnnan, Thomas Traction Engine, Ottoman Company. Dubbs & Co., Glasgow Locomotive Works, 1866, albumen print, 28 x 38.5cm, laid onto original mount; North British Locomotive Co. 10 silver gelatin prints, 1930s-1970s but printed later, showing the manufacture and transportation of engines through Glasgow, between 16 x 24cm and 20 x 29cm; 3 earlier silver gelatin prints showing engines in Glasgow, between 26 x 34cm and 28 x 38cm; silver gelatin print showing railway workers posing around an engine, 19 x 38cm; Sharp, Stewart & Co. Limited, Atlas Works, Manchester albumen print showing the engine "Little Dorrit", 27 x 36cm
![[§] Rupin, JuryCountry Childhood I, 1978, signed by the artist, photographer's ink stamp, gallery ink stamp, edition not know](https://cdn.globalauctionplatform.com/1c32cd2c-9739-409c-b0e7-a8ef00d40838/6556301f-2b7b-4bfc-fb04-d33e583b57ae/468x382.jpg)
[§] Rupin, JuryCountry Childhood I, 1978, signed by the artist, photographer's ink stamp, gallery ink stamp, edition not known, gelatin silver print, approx 36.7 by 22.2cm.; Sauna 03, 1972, edition 1 of 5, signed and inscribed in pencil by artist, gelatin silver print, approx 19.5 by 29.5cm; Boat, 1973, signed and inscribed by the artist in pencil, photographic print, approx 36.5 by 19.5cm; Sauna 05, 1972, edition 1 of 5, signed by the artist in pencil, gelatin silver print, approx 22 by 30cm. (4)
A Dean & Son moving picture circa 1850, hand coloured print of a girl walking her doll along, an interior scene behind and verse below ‘What a very good nurse, to bring Dolly so neat out, And teach her to put, With such grace - both her feet out’, a piece of card protruding from side of picture, moves her along, framed and glazed - 11in. (28cm.) high
Investiture chair - an icon of design being the 1969 Prince of Wales Investiture chair by Lord Snowdon, built in stained beech and plywood with olive-ash and embossed with the Prince of Wales motif in gold leaf, the chairs were manufactured by Welsh Remploy factories, together with a framed print of the Investiture
A Japanese ivory okimono,Meiji period, (1868-1912), of a hunter stabbing an eagle with a staff, possibly based on a ukiyo-e print 'Kintaro Fighting with an Eagle' by Kitagawa Tsukimaro, 26.5cmProvenance: From a private collection in Scotland.In Japanese folklore, Kintaro has superhuman strength, and he is renowned both for his strength and martial prowess. He was raised by a yamauba (mountain hag) on Mount Ashigara, and later caught Shuten-doji, who terrorised the region around Mount Ooe.
HM Queen Elizabeth The Queen Mother - two signed Christmas cards 1962 and 1963 - both with gilt embossed crown to cover and one with print of 'the Royal horses Lotty, Double Star and The Rip - Lingfield, December 9th 1961', the other with a photograph of The Queen Mother seated with two Corgis at her feet - both signed in ink 'from Elizabeth R', one with original envelope.Provenance: Given by The Queen to 'Mr Henry', the Royal hairdresser
HM Queen Elizabeth II and HRH The Duke of Edinburgh - signed 1963 Christmas card with twin gilt embossed Royal ciphers to cover, print to the interior, of The Adoration of the Shepherds by Procaccini, signed in ink 'Elizabeth R 1963 Philip', with original envelope.Provenance: Given by The Queen to 'Mr Henry', the Royal hairdresser
19th century reverse print on glass depicting His Majesty's gun vessel Wolverine beating off two French lugger privateers after an engagement of two near the coast of France, Jan 3rd, 179 (?), framed, 30cm x 38cm CONDITION REPORT Print in good order, although appears to have lifted slightly on one corner. Frame quite fragile and requires attention as print is loose in it
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