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Lot 561
Arnold de Jode, mid 17th century- The Infants Jesus and John the Baptist Embracing; published by Richard Tompson,1666, engraving after Sir Anthony Van Dyck 1599-1641, lettered QVAM PVLCHRI SVPER MONTES PEDES ANNVNTIANTIS ET PREDICANTIS PACEM. Isaiae Cap: 52 V: 7 with dedication by Richard Tompson to Sir Peter Lely. with defects, overall good condition: 45x33cm Cornelis Visscher II c.1619-1658- "Philippvs IV..."; engraving after Peter Paul Rubens 1577-1640; "Philippvs I..."; engraving after Jan van Eyck c.1390-1441, a pair, 40x29cm, ea.: Jacobus Houbraken 1698-1780- "Sir Philip Sydney"; published London, 1744, engraving: Jonas Suyderhoef c.1580-1666- "Jacobvs Revivs...." engraving after Frans Hals I 1580-1666, and other by and after different hands, (a lot) (unframed)
Lot 597
Wilde (Oscar). Salomé, Drame en un Acte, 1st ed., Paris & London, 1893, title with device by Félicien Rops, contemp. silver print photograph of Moreau’s watercolour of Salomé dancing, tipped in as frontis., author’s signed presentation inscription to second blank verso and sl. offset to half title, ‘à Gustave Moreau, Hommage respectueux, Oscar Wilde’, with Wilde’s trademark paraph to the last letter of his name, some light browning to first two blanks and half title, orig. purple wrappers printed in silver, somewhat faded and with marginal browning, the whole (including spine) bound by Pagnant in contemp. boards with a stencilled floral decoration design in red, green, blue and yellow, embossed ex libris stamp of Oscar Molinari to additional blank front free endpaper, the endpapers being two identical gilt pictorial designs of Saints, leather title label to spine and gilt dated imprint at foot, worn along joints, 8vo. An outstanding and previously unknown association copy, gifted to the current owner by his mother’s landlady in Paris some forty years ago. Mason 348: ‘Salome was being rehearsed in June 1892 for production at the Palace Theatre, London, by Madame Sarah Bernhardt (with M. Albert Darmont as Herod) when the Lord Chamberlain withheld his licence on the ground that the play introduced biblical characters.’ The play which Wilde began writing in 1891 eventually found its first performance at the Theatre de l’Oeuvre in Paris on 11 February 1896. The English translation of the text first appeared in 1894. The influence of the celebrated French Symbolist painter Gustave Moreau (1826-1898) on Oscar Wilde’s vision for his play Salome is often cited as self-evident yet there is scant documentary evidence. It is not known that they ever met, and indeed Moreau is not mentioned once in the Complete Letters of Oscar Wilde (2000). Oscar Wilde complained to Charles Ricketts after seeing Aubrey Beardsley’s drawings for the English edition: ‘My Herod is like the Herod of Gustave Moreau, wrapped in his jewels and his sorrows. My Salome is a mystic, the sister of Salammbo, a Saint Therese who worships the moon.’ This inscribed copy puts beyond doubt Wilde’s admiration for and his debt to the great French painter.. In May 1884 Wilde visited Paris as a newly wed with his wife Constance just weeks after the publication of Joris-Karl Huysman’s influential decadent novel A Rebours. While there Wilde visited the Louvre to see Moreau’s celebrated The Apparition. This watercolour of Salome dancing before Herod had been exhibited alongside another oil painting of the same subject at the Paris Salon of 1876. The exhibition drew newspaper reports and the crowds with over 500,000 people flocking to see the two pictures. Moreau set in train Symbolist ideas and the artistic craze for the femme fatale Salome which Wilde was so keen to turn into French words and stage design. Moreau himself returned to the theme often, producing some nineteen paintings, six watercolours and more than 150 drawings of the same subject. Interestingly, the frontispiece to this lot (inserted by Wilde?) is a photograph from a watercolour of Salome Dancing from c. 1886 now hanging in the Musee d’Orsay. It shows Salome more richly robed and with a more Pre-Raphaelite look than the two famous pictures of 1876. After 1880 Moreau never exhibited at the Salons (or anywhere) again and refused to allow his pictures to be reproduced. Where this photographic frontispiece then came from is not the only question left begging. Are the endpapers and binding decoration from Moreau’s designs and did Wilde or Moreau or another insert the photograph? Moreau was himself influenced by Gustave Flaubert’s novel Salammbo (1862) but Moreau’s influence on the arts was to be more profound, most notably through Huysman’s novel A Rebours where the aesthete Des Esseintes sees Salome not as the dancing girl of the New Testament, but ‘she had become in some way, the symbolic deity of indestructible lust, the Goddess of immortal Hysteria, the accursed Beauty exalted above all other beauties … the monstrous Beast...’ Des Esseintes hangs Moreau’s two famous Salome paintings side by side at his home so that he could: ‘consider the beginnings of this great artist, this mythical pagan, this seer who could conjure up in the everyday world of Paris such visions and magical apotheoses of other ages.’. Richard Ellmann in his noted biography of Oscar Wilde (1988) wrote: ‘The principal engenderer of the story was an account in the fifth chapter of Huysmans’s A Rebours of two paintings by Gustave Moreau, and in the fourteenth chapter of the same book a quotation from Mallarme’s ‘Herodiade’. In one painting the aged Herod is being stirred by Salome’s lascivious but indifferent dance; in the other Salome is being presented with the Baptist’s head giving forth rays on a charger. Huysmans attributes to Salome the mythopoeic force that Pater attributes to the Mona Lisa, and mentions that writers have never succeeded in rendering her adequately’ (p. 321). ‘Wilde’s knowledge of the iconography of Salome was immense. He complained that Rubens’s Salome appeared to him to be ‘an apoplectic Maritornes’. On the other hand, Leonardo’s Salome was excessively incorporeal. Others, by Durer, Ghirlandaio, van Thulden, were unsatisfactory because incomplete. The celebrated Salome of Regnault he considered to be a mere ‘gypsy’. Only Moreau satisfied him, and he liked to quote Huysmans’s description of the Moreau paintings’ (p. 323). (1)
Lot 159
* Shaw (George, 1843-1915). On the Dart, Dartmoor, oil on canvas, signed lower left, 30.5 x 51cm (12 x 20ins), framed and glazed, with handwritten title, artist’s name and address to reverse, together with Southey (Rubens, 1881-1933), Moorland Landscape (probably Dartmoor), watercolour, signed lower left, 11 x 28.5cm (4.25 x 11.25ins), framed and glazed, with old label of G. Widger, Plymouth to verso (2)
Lot 497
TWO GEORGE II CARVED AND GILDED PICTURE FRAMES MID 18TH CENTURY With exhibition labels to reverse, 'H. VAN AVERKAMP - SCENE OF THE ICE' AND 'ST PETER RUBENS - DAVID WITH THE ELDERS OF ISRAEL', minor losses The largest with sight size - 27¼ in. x 34¾ in. (70.5 cm. x 88 cm.) (2) View on Christie's.com
Lot 27
BONARELLI, Prospero (1588-1659). Il Solimano. Florence: Pietro Cecconcelli, 1620. 4° (202 x 160mm). Engraved title, 5 double-page plates by Jacques Callot after the designs of Giulio Parigi (2 repaired tears on plate 2, slight abrasion on F1 affecting a few letters, some occasional pale spotting.) 18th-century vellum, morocco lettering-piece (front hinge cracked, lettering-piece chipped). Provenance: Wilmot Vaughan, first Earl of Lisburne, Ireland (1730-1800, bookplate). FIRST EDITION, second state of the title. Bonarelli's great tragedy was performed in Florence in 1618. Jacques Callot illustrated the work, following the designs of his tutor and colleague, Giulio Parigi, an architect and the chief designer of courtly festivities under the Grand Duke, Cosimo II de' Medici. Both Parigi and Callot were employed by the Medicis, and under their patronage Callot made his many improvements in etching. This is one of the last books he produced for the Medicis, since he returned to his native Nancy following the death of Cosimo II in 1621. "The dramatic finale shows the city of the tyrant Soliman in flames, The moveable scenes -- THE FIRST IN THE HISTORY OF THE THEATRE -- picture contemporary Florence. The whole of its effective contrasts of dark and light, seems fantastic, yet it is the rational and realistic portrait of a fantastic, imaginary subject" (Otto Benesch, Artistic and Intellectual Trends from Rubens to Daumier, Cambridge, 1942, p.17). Berlin Katalog 4112; Brunet I, 1089; Cicognara 1086; Gamba 1810; Lieure 363-368. View on Christie's.com
Lot 43
SERRE, Jean Puget de la (1600-1665). Histoire curieuse de tout ce qui c'est passé a l'entrée de la Reyne, mere du Roy Treschrestien dans les villes des Pays-Bas. Antwerp: Balthasar Moretus, 1632. 2° (303 x 215mm). Half-title, engraved title by Cornelius Gallé, portrait, and three plates by Andries Pauli after Nicolas Van der Horst. Contemporary vellum over pasteboard, later morocco lettering-piece (some minor soiling). A FINE COPY of this entry of Marie de Medici into the cities of Mons, Brussels and Antwerp. The title designed by Nicolas can der Horst shows the strong influence of Rubens. The following plate shows a medallion portrait of Marie de' Medici suspended from a tree which illustrates her descent from royalty. The three fine plates illustrate the Queen's entry into Mons and Brussels, and the arrival of the royal party in the harbor of Antwerp. The Queen, accompanied by the Archduchess Isabella, asked to see the venerable printing press of Plantin at Antwerp. Balthasar Moretus, grandson of Christopher Plantin and then operator of the press, had prepared a booklet of four pages commemorating the visit. Pages 60-63 reproduce the beautiful letterpress he presented to her. Berlin Katalog 2946; Watanabe 2661. View on Christie's.com
Lot 15
A CARVED IVORY CHRISTO VIVO, POSSIBLY ANTWERP WORKSHOP OF MATTHEUS VAN BEVEREN (1630-1690), FLEMISH, LATE 17TH CENTURY the finely carved figure with rope tied perizonium, the head raised up to the left and speaking the last seven words, formerly mounted on a crucifix 48cm high The attenuated limbs and forceful expression of this figure show strong affinities with the works thought to be produced by Mattheus van Beveren (Antwerp 1630 - Brussels 1690) and his workshop. Known for work in ivory, as well as stone and boxwood, the absence of signed or documented Corpus Christi by van Beveren makes attribution difficult. An ivory Pieta (Musées royaux d`Art et d`Histoire, Brussels, inv. no. 1754), attributed to van Beveren, shows similar elongation in the Christ figure. See also Sotheby`s London, The Barbara Piasecka Johnson Collection, 8 July 2009, lot 32, for a highly expressive boxwood crucifix attributed to van Beveren and Sotheby`s London, 22nd April 1982, lot 266 for an ivory Corpus Christi similarly attributed. Literature: La sculpture au siècle de Rubens, Musée d`Art Ancien, Brussels, 15th July-2nd October, 1977, p.198-199
Lot 381
* Cort (Cornelis, 1533-1578). Noah’s Ark, copper engraving by Cornelis Cort after Maarten van Heemskerck, pub. C. J. Visscher, plate size 20.2 x 25cm, together with Visscher (Cornelis, 1619/29-1658/62), Achilles at the Court of Lycomedes, c. 1640s/50s, engraving, by Cornelis Visscher after Peter Paul Rubens, pub. Pieter Soutman, margins trimmed, some marks and soiling to edges, with small tear to lower left corner (without loss, and another short tear with minor loss to upper portion of left margin), plate size 55 x 45cm, plus approx. fifty other various Old Master prints, including Sandrart, Faithorne, Frezza Pintz, Cleym, Houbraken, etc., and a collection of approx. seventy-five mostly 19th c. English county maps, various, (including Archer, Lewis, Fullarton, Seller/Grose, etc.), including some hand-coloured, some prints and etchings, including two by J. S. Cotman, and a hand-coloured view of Bristol Cathedral, etc. (approx. 125)
Lot 717
1994 Monaco Grand Prix programme with 21 signed F1 driver biographies, including Mika Hakkinen, Damon Hill, Michael Schumacher, Jean Alesi, Rubens Barrichello, Gerhard Berger, Heinz-Harald Frentzen, Johnny Herbert, Olivier Panis, Paul Belmondo, Olivier Beretta, Eric Bernard, Mark Blundell, David Brabham, Martin Brundle, Christian Fittipaldi, Bertrand Gachot, Ukyo Katayama, JJ Lehto, Pier Luigi Martini, Gianni Morbidelli, 60 pages 30 by 21cm., 12 by 9I in., with a letter of provenance (2). This, the first F1 race following the deaths of Ayrton Senna and Roland Ratzenberger at Imola, was a sombre affair, the mood becoming even more strained after a practice accident left Karl Wendlinger with serious head injuries that all but finished his career. The front cover features Senna winning the previous year’s race and contains full-page tributes by Frank Williams and Michael Boeri. Poignantly the entry list leaves blank spaces against the race numbers of Senna and Ratzenberger.
Lot 60
* Beckett (Isaac). The Dutchess of Cleaveland, n.d. c.1680, mezzotint after P.Lely, trimmed to image, 330 x 245mm, framed and glazed, together with, Earlom (Richard), Untitled pastoral scene, pub. John Boydell Sept. 1st. 1781, mezzotint after Castiglione, good dark impression, scratch letter proof before title, small margins, laid down, 290 x 370mm, framed and glazed, with, Earlom (Richard), The Right Honble. Thomas Elder of Forneth, Lord Provost of the City of Edinburgh &c., n.d. c.1800, mezzotint after H.Raeburn, good margins, 520 x 360mm, framed and glazed, with, Young (John), , [Eliza], pub. J.Young, 1st. March 1786, mezzotint after J.Hoppner, scratch letter proof, small margins, 385 x 275mm, framed and glazed, with, McArdell (James), Rubens and his wife and Child, n.d. c.1750, mezzotint after Peter Paul Rubens, proof before letters and title, 510 x 355mm, framed and glazed, together with another six similar (11)
Lot 100
* Green (Valentine, 1739-1813). Fidelia and Spiranza, pub. John Boydell, November 9th 1778, uncoloured mezzotint by Valentine Green after Benjamin West, the published state on laid paper, thread margins, 610 x 345mm, together with a scratch letter proof, and a proof before letters of the same work, plus Hannibal, & Regulus, pub. J. Boydell, November 1st 1773, a pair of colour mezzotints, by Valentine Green after Benjamin West, both trimmed to image, some surface wear and closed tear repaired to the second work, each laid down on thick paper with ruled wash border, 625 x 875mm, together with two uncoloured mezzotints of Regulus, plus The Descent from the Cross, pub. V. & R. Green, January 1st 1790, uncoloured mezzotint by Valentine Green after Peter Paul Rubens, some creasing and soiling to margins, plate size 915 x 610mm, and one other mezzotint by Valentine Green after Benjamin West, showing a wounded heroic figure by his tent, surrounded by followers (9)
Lot 112
* Hodges (Charles Howard, 1764-1837). Bacchanal, pub. John & Josiah Boydell, August 1st 1789, uncoloured mezzotint on laid paper, by C. H. Hodges after Rubens, a good impression, with margins (except lower margin trimmed to plate mark), 480 x 605mm, together with Murphy (John), , Hiram King of Tyre, sends presents to King Solomon, pub. John & Josiah Boydell, March 1st 1790, fine uncoloured mezzotint on laid by John Murphy after Eeckhout, with margins, plate size 480 x 605mm, plus Smith (John Raphael, 1752-1812), Belisane & Parcival under the Enchantment of Urma, pub. J. R. Smith, August 25, 1782, uncoloured mezzotint after Henry Fuseli, a somewhat weak impression, with margins, plate size 455 x 560mm, and Blackmore (Thomas, c. 1740-c. 1780), Sigismonda, uncoloured mezzotint by Thomas Blackmore after Richard Cosway, on laid paper, a rich dark impression (only state), inlaid to later paper margins, and horizontally folded for album use, 380 x 280mm, plus four other late 18th-century uncoloured mezzotints after Old Masters, including Vernet, Van Huysum, etc. (8)
Lot 149
* Pether (William, 1731-1821). Helena Forman, Wife of Rubens, pub. June 30th. 1769, mezzotint on laid after P.P.Rubens, dark impression, good margins, 505 x 360mm, together with Blackmore (John), Untitled portrait of a bare breasted woman, n.d. c.1770, mezzotint on laid after Frans Hals, good margins, 330 x 230mm, with one other similar (3)
Lot 545
ENGLISH SCHOOL, LATE 19TH CENTURY COPIES OF CELEBRATED OLD MASTER PORTRAITS six, pencil and watercolour heightened with white, the largest 17 x 12cm (6) Including Lady Diana Russell when a child by Paul van Somer, Charles the Bold by Rogier van de Weyden, the Head of a Young Man by Durer, Sir John Godsalve by Holbein and Anne of Austria by Rubens.++All in good condition and undoubtedly by the same hand, insecurely mounted in non matching frames with thunderflies etc beneath the glass of some. Free from fading or foxing
Lot 557
Bolswert after Rubens. Classical scene mythological scene after Rubens, engraving, 315 x 355mm., thread margins, trimmed on the lower platemark, a short split upper centre, [Hollstein 288], Antwerp, Gilles Hendricx, mid 17th century; with a plate of head studies by Bloemaert, and 3 plates after Rembrandt(5)
Lot 64
Held.Oil Sketches of Peter Paul Rubens 2 vol. Princeton 1980 § Millen (R.F.) and R.E.Wolf. Heroic Deeds and Mystic Figures: A New Reading of Rubens` Life of Maria de`Medici Princeton 1989 White (C.) Peter Paul Rubens New Haven & London 1987 § Jaffé (M.) Rubens and Italy Oxford 1977. illustrations some colour original cloth dust-jackets; and 4 others on Rubens 4to(9)
Lot 350
[Sadler (John)] Rights of the Kingdom; light browning" bookplate of bibliophile and author Alfred Rubens modern half calf [Wing S278a] small 4to Richard Bishop 1649. ***Includes Menasseh ben Israel`s pleas for justice for Jews" and Jews in America. Alfred Rubens (1903-98) was the author of Anglo-Jewish Portraits and A Jewish Iconography..
Lot 428
Friedländer-Die Altniederländische Malerei vol. I-V, VII-XI only (of 14) original half cloth, one or two vols spotted, Berlin, 1924-33 § Dayot (Armand) Grands & Petits Maitres Hollandais, one of 600 copies, slightly spotted, contemporary half morocco, t.e.g., others uncut, original wrappers bound in, Paris, 1912 § van Vloten (Dr. J.) Alle de Wercken van Jacob Cats, 2 vol., engraved titles, portrait and plates, some foxing, contemporary morocco, decorated in gilt and blind, joints cracked, Zwolle, 1862 § Rooses (Max) Rubens` Leben und Werke, original red reversed calf, gilt, Stuttgart, Berlin & Leipzig, 1890 § Michel (E.) Rembrandt, later half morocco, t.e.g., Paris, 1893, plates and illustrations, some a little rubbed; and 8 others, Dutch and Flemish Painting, v.s.(23)
Lot 153
The following 11 paintings are from the Collection of Millicent Hope Bovey, of Penarth. Miss Bovey had inherited these pictures, once part of the huge collection of her neighbour Mr R.W Pettigrew. On Pettigrew’s death in 1929 The South Wales Evening Express wrote: “WELSH MYSTERY TREASURE HOUSE: House full of Old Masters at Penarth. Pictures worth thousands found after Connoisseur’s death. A vast hoard of pictures, worth thousands of pounds and including works by Rembrandt, Rubens and many others has been hidden for years in a house in Penarth….” Mr Pettigrew had amassed a collection of some 500 paintings; his house was so full that he and his wife were only able to inhabit a few rooms and the attics, wardrobes, bureaux and chests were all full of beautifully packed works of art. Part of the collection was sent to London for sale through Christie, Manson and Woods who announced that the sale of the Pettigrew Collection would include works by Rembrandt, Rubens, Canaletto, Van Dyck, Tintoretto, and many others. Miss Bovey subsequently sold many other works, swapping paintings for cruises and other luxuries. The 11 paintings offered here are the remnants of this stupendous collection. 19th Century English School OLD DEBTORS PRISON, SOUTHGATE, EXETER inscribed on the reverse oil on board, 20.5cm x 32cm (8" x 12.5")
Lot 349
Rubens.- An Album of Engravings after Rubens 28 plates including early proofs of Albert and Isabella of Austria printed before the plate was separated (to form the left and right panels of a triptych) engravings v.s. 2 proofs before letters some mounted most with reduced margins some spotting browning and surface dirt loosely inserted into a calf-bound album worn folio 17th century; with a series of 14 plates after Rubens by Cornelis Galle; and a further 14 plates of biblical and classicla scenes by or after Hayter Audran Frey Tardieu Reni Coypel and others(56)
Lot 362
Cruger (Teodoro) Vita D. Joannis Baptistae ex archaetypo Andreae Sartii Flor. engraved title with dedication to Cosimo II de` Medici engraved portrait and the set of 12 plates engraved by Croger (or Kröger) after the Scalzo frescoes by Andrea del Sarto each trimmed close and corner-mounted on support sheets of laid paper light spotting to title occasional light browning small loss in title area of one plate Florence 1618 bound with Punt (Jean) [Ceiling paintings of the Jesuit Church at Antwerp] 24 (?of 36) plates drawn by J.de Wit and engraved by Punt from the paintings by Rubens 6 trimmed close and corner-mounted on support sheets of laid paper Amsterdam 1747-1759 half calf marbled boards worn upper cover detached bookplate of Earl de Grey Wrest Park oblong folio; sold as a collection of plates not subject to return ***Thomas Philip 2nd Earl de Grey (1781-1859) was the first president of the R.I.B.A..
Lot 973
Circle of James Ward R.A. (18th/19th century), A Horse Frightened by a Lightning Bolt, near a tree with a ruined house in the distance, Oil on canvas laid down onto panel, 17cm by 20.5cm. Animal painter and engraver, father of George Raphael Ward and brother of engraver William Ward. He was appointed painter and engraver in mezzotints to the Prince of Wales. In 1817 he gave up engraving for painting, imitating the work of George Morland, his brother-in-law. Later, under the influence of Stubbs, Gilpin and Rubens, he began to paint the romantic, dramatic animal pieces for which he is best known, such as Bulls Fighting and Fighting Horses etc. In 1815 he painted the monumental landscape Gordale Scar (Tate Gallery).
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