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Lot 371
Thomas Heathfield Carrick, British (1802 - 1875)"Portrait of Daniel O'Connell, The Liberator," half length portrait of Daniel O'Connell seated wearing a green overcoat in a pink and green ground covered chair, O.O.C., approx. 33cms x 28cms (13" x 11"), framed. This is the iconic Print of which William Holl (1807 - 1871) engraved, copy enclosed. (1)* Typescript Note on reverse - "Portrait of Daniel O'Connell, M.P. 1844, painted by Thomas Heathfield, Carrick 10" x 12 1/2", formerly in the collections of Lady Isabella Walsh.The whereabouts of this portrait remained unknown until its reappearance in a Dublin saleroom during November 1949. This is the original painting by Thomas Carrick in 1844, referred to in the dictionary of National Biography.Note: Carrick received a medal from the Prince Consort in 1845 for inventing the method of painting on marble. He was one of the foremost artists of his time. He was a friend of Dickens and Lover, among his sitters were Daniel O'Connell, William Wordsworth and Longfellow.
Lot 78
Pictures and prints - St James, Garlickhythe Limited Edition 49/500 signed in pencil to margin; another; a pen & ink drawing Limited Edition Interlocking Boats II; a Victorian framed hand coloured lithograph print; a framed print Low Tide, Berwick signed and dated in pencil to margin; a Limited Edition print 40/150, The Oval, 1995 signed pencil margin; a Persian brass table top tray, chased and engraved overall; etc. (8)
Lot 128
A collection of early 19th century miniature portraits in watercolour and pencil, to include a group of four painted on card and mounted on paper 'A Likenefs In This Style 2/6' written below, a portrait print inscribed in ink to verso 'James Steel Tunstall, 'a primitive Methodist Preacher 1826', two floral still life greeting cards in watercolour, a pencil portrait signed Jessie Lunch 22.6.09, two signed silhouettes and an ink drawing in memory of William Knott who was killed at New York Swan River, Sept 21 1836 as he was fighting a fire on his own premises, by a native thrown a spear at him
Lot 233
'A Stoppage to a Stride over the Globe' - a Georgian illustrated pen and ink and watercolour cartoon, Napoleon depicted astride the globe, sword in hand, Johnny Bull (England) with sword in right hand, left hand placed on Old England, below the words 'Ah! Who is it dares interrupts me in my pacings', 'Why tis I little Johnny Bull protecting a little spot, I slap my hand on and D-n me if you come any further thats all', 14" x 10 5/8", unsigned, framed and glazed. Catalogue Note: The picture appears a print, as one of a series of anti-napoleon satirical caricatures, published in 1803 by Piercy Roberts, a caricaturist, print maker and publisher, who ran a priint shop at 28 Middle Row, Holborn, London, between 1801 and 1806. Selling out to Thomas Tegg in 1806. An example of the print by Roberts is held in the British Museum, collection number J.3.83 and one published by Thomas Toff in 1807 is held in the Brown University Library
Lot 126
*Cricket. A Cricket Match between Sussex and Kent, published S. Lipschitz, Hamburg and London, circa 1870, hand coloured lithograph, one marginal repaired closed tear, slight staining, 490 x 605 mm, mounted, framed and glazed A cricket match between Sussex and Kent played at Brighton. In the foreground is a gathering of spectators, each one a portrait of famous cricketers of the period including players, umpires and patrons. The print is taken from a larger engraving by G. H. Phillips which was published in 1849. (1)
Lot 133
*Pleissner (Ogden M.). The Leaping Sea Trout, published Frost & Reed Ltd, 1957, colour photolithographic print, signed in pencil by the artist to lower right, blindstamp of the Fine Art Trade Guild to lower left, 415 x 620 mm, mounted, framed and glazed Ogden Pleissner was an American sporting artist who came to the British Isles as a guest of Colonel Rex Benson and painted two pictures. This example shows Colonel Benson fishing Loch Fada on South Uist with Angus MacKinnon on the oars. The other image was of the Bridge Pool over the Howmore, also on South Uist. It is believed that the prints were limited to an edition of 440. (1)
![*Angas (George French). Maori, Or, Native Swing, [from the New Zealander's Illustrated, 1857], hand-coloured lithograph, fro](https://cdn.globalauctionplatform.com/5d649fdf-273f-443c-be59-a89000a7dba0/0a6f026d-2277-4211-c5b2-e291b25f8289/468x382.jpg)
Lot 2
*Angas (George French). Maori, Or, Native Swing, [from the New Zealander's Illustrated, 1857], hand-coloured lithograph, from the collection of 60 plates published by Thomas McLean in 1847, 255 x 310 mm (10 x 12.25 ins), with extensive later annotation in ink to verso, together with Baxter (George), Te po a Chief of Rarotonga, published by John Snow, [1839], Baxter print in oil colours by G. Baxter, from a painting by J. Williams Junior, [originally published in John Webber, Missionary Enterprises in the South Sea Islands, 1839], some light marks (generally in good condition), sheet size 185 x 120 mm (7.25 x 4.75 ins) See Abbey, Travel 589 for the whole work by Angas. (2)
Lot 245
*Honourable Artillery Company. Walker (E., publisher), To the Gentlemen of the Honble. Artillery Company, This print representing their uniform is respectively dedicated..., circa 1805, aquatint with contemporary hand colouring, attributed to Peltro. W. Tomkins, trimmed to strapwork margins, 385 x 260 mm, mounted, framed and glazed Parker Gallery label to verso. (1)
Lot 246
*Honourable Artillery Company. Havell (Robert, junior), This print representing The Honourable Artillery Company pasing in review before their Illustrious Colonel, His Royal Highness Prince Augustus Frederick Duke of Sussed K. G. &c. &c. &c...., [1829], aquatint with contemporary hand colouring after G. Forster, slight dust soiling, 400 x 580 mm, mounted, framed and glazed (1)
Lot 279
*Cruikshank (George). Lacing in Style - or a Dandy Midshipman preparing for action, published T. Tegg, 1819, The Scotch Cottage of Glenburnia, published T. Tegg, circa 1820, An Arch design, Intended for Boney's Triumphal Entry into Paris, 1812, Mother Wood, published G. Humphrey, 1820, Foggy Weather published G. Humphrey, 1819 [and] To the Rt. Worshipful John Smoak Esq..., This Print of Hunting a Mayor is humbly presented..., published T. Tegg, 1819, together six etched caricatures with contemporary hand colouring, each approximately 240 x 340 mm, various condition (6)
Lot 285
*Darly (Mary). A collection of twenty-seven etched caricatures, circa 1775, uncoloured etched caricatures, some dust soiling and staining, small format, various condition The Darlys, a husband and wife team, played a prominent part in the birth of the English caricature. It could be argued that they opened the doors which later exponents crashed through, including James Gillray. As early as 1749 Mathew Darley is recorded as having been called to face a parliamentary committee looking into the subject of obscene prints. Mary can quite rightly be called the 'mother of caricaturists'. She developed the idea of producing small engravings with satirical sketches on them the size of a playing card which could be sent through the post. They became collectors items and from 1756 were then bound up and published as an annual review under the title of 'A Political and Satyrical History of the Year'. Mary describes the political sketches as caricatures; the first time this description is applied to a satirical portrait or scene. Mary also taught drawing and caricature-making to suitable Ladies and Gentlemen, and in 1762 published the first guide book to the subject under the title of 'A Book of Caricaturas, on 59 Copper Plates, with Ye Principles of Designing in the Droll & Pleasing Manner'. It contained just three pages of instruction, but also set out numerous examples of her technique. The Darlys had three print shops over a period of a quarter of a century and in that time they dominated the London print shop scene. They were operating in a period just before the Golden Age of satire, which would usher in Gillray, Rowlandson, the Cruikshanks et al, but it was the Darlys that helped it happen. (27)
Lot 335
*Scourge. Williams (C.), The Storming Monopoly Fort or the Directors of Dismay, February 1st, 1813, Modern Idolatry - or - Editors and Idols, April 1st, 1814, A Paradise for Fools..., Sept. 1st. 1814, The Sale of the Coal Heavers Scraps!!, December 1st. 1813, Hocus - Pocus or Conjurors raising the wind, Oct. 1st. 1814, The Divine and the Donkey or Petworth Frolicks, February 1st. 1814, [and] Benefits of a Plentiful Harvest, Nov. 1st. 1813, all published W. N. Jones, a collection of seven engravings all with contemporary hand colouring, all originally published in 'The Scourge', old folds, trimmed to image , each approximately 190 x 500 mm, mounted Each print with a photocopy of the catalogue description and the BM number on the verso of the mount. (7)
Lot 340
Africa. A pair of photograph albums, 1930s, both containing colour photo snapshots, the first largely safari scenes in Tanganyika, Uganda, plus scenes in Egypt, Cyprus, etc., approximately 250 photographs mounted as multiples, the second album including views in India, both albums with neat white china ink captions to mounts, plus three further albums of gelatin silver print photographs, 1930s, mostly British and European views and scenes, all window-mounted, one album with ink captions to mounts, various bindings, 8vo/oblong folio (5)
Lot 357
*Ito (Hirobumi, 1841-1909). Full-length portrait signed, 1906, gelatin silver print showing Prince Ito seated and wearing full regalia, signed presentation inscription in English and using western signature to lower blank margin, 'To Admiral Sir Arthur W. Moore [1847-1934, Royal Navy officer who commanded the China Station], with compliments of Marquis Ito, 15 Sept. 1906', 22 x 15cm, contemporary stiff card mount, roughly trimmed at upper margin Prince Ito Hirobumi became Japan's first Prime Minister in 1885 and went on to hold the position four times. He was assassinated at Harbin Railway Station on 26 October 1909 by Jung-gun, a Korean nationalist and independence activist. (1)
Lot 361
*London Heathrow Airport. A photograph album compiled by D.P. Wrigley, 1959, containing corner-mounted gelatin silver print photographs of aircraft at London Airport, plus some aerial shots, views in Haarlem, Arnhem, etc., a total of 98 photographs, approximately 10 x 12.5cm and similar sizes, mounted as multiples and captioned on mounts throughout, together with a second photograph album of similar date including photographs of Amsterdam views, people and a few airport scenes, captioned on mounts, both contemporary boards with spine ties, slightly rubbed, oblong folio (2)
Lot 369
*Papakura (Makereti, 1873-1930). Half-lenth portrait by Iles, circa 1890s, albumen print, captioned in the negative, 'Maggie' and no. 152, signed presentation inscription in Maori to top left corner signed as 'Maggie Papakura', 20 x 14cm, framed and glazed Makereti (or Maggie) Papakura was a Tuhourangi woman of mana, guide and ethnographer. (1)
Lot 372
*Royal Worcester. A small archive relating to William Taylor of Royal Worcester, circa 1840, comprising approximately 15 engravings, 100 pencil sketches, plus eight pen and ink and 90 watercolours, many of botanical subjects and insects used for porcelain designs, partly contained in eight notebooks, with some records of items made against print patterns and prices, plus a small qauntity of personal correspondence to his parents, prior to starting work at the Royal Worcester factory William Taylor was born circa 1828 and became a floral artist for the Royal Worcester factory from about 1845 to 1870. (a small carton)
Lot 374
*Second Bikini Atoll Atomic Bomb Test. A gelatin silver print photograph, modern printing, showing the underwater explosion eight seconds after detonation, signed in thin blue felt tip pen in the sky area 'Paul W. Tibbets, pilot - Enola Gay', together with a related colour photograph, both 20 x 25cm (2)
Lot 68
Fuller (Errol). The Great Auk, 1st edition, published by the author, 1999, additional half title, numerous colour an black & white illustrations throughout, half-title with signed presentation by author, dust jacket, publisher's cloth gilt, 4to, together with Ching (Raymond Harris), The Great Auk, late 20th century, colour print, signed by artist in pencil to lower right, 355 x 525 mm, mounted, framed and glazed (2)
Lot 705
ATTRIBUTED TO DAVID COX, OWS (1783-1859) CHARLTON HOUSE GREENWICH watercolour, 28 x 45cm++Although unsigned, there seems little reason to not accept the traditional view that the work is a later Cox, Time stained/browned especially in the upper part of the composition with some consequent inexpert white retouching, several finger print shaped pale stains along the lower part of the composition. Unexamined out of the recent gilt frame
Lot 918
†FRANCIS DODD, RA, RWS (1874-1949) ST MARY LE STRAND etching with drypoint, signed by the artist in pencil, 35 x 26cm and various other modern British prints, mainly etchings, all signed including Sydney Lee, RA, RWS, RE, Andrew F Affleck, Headley Fitton, RE (2) and Martin Hardie, RE, sold in portfolio (20)++The Dodd print and many of the others in very good condition
Lot 923
JOHN JONES (C1745-1797) AFTER WILLIAM REDMORE BIGG, RA (1755-1828) BLACK MONDAY OR THE DEPARTURE FOR SCHOOL; DULCE DOMUM OR THE RETURN FROM SCHOOL a pair, stipple engravings, printed in colour, with margins, 1790, 49 x 63cm, in verre eglomise mounts (2)Provenance: Collection of William Terry (1922-2017).++Much above average, especially Black Monday, the companion print slightly, rather lightly spotted with mild discolouration of the paper, both in early gilt cavetto frames with on the backboard the trade label of Thomas Agnew & Sons
Lot 929
†HENRI MATISSE (1869-1954) MADONNA AND CHILD (LA VIERGE ET L'ENFANT), 1949 lithograph, with pencil initials, 20.5 x 36cm (irregular)Provenance: Mr & Mrs John Carr Doughty.++Print slightly irregularly cropped, tiny made up loss upper left and lower right corners where removed from a mount, unexamined out of frame; minor creases
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314796 item(s)/page