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Lot 199
Two Japanese woodblock prints, 20th century, after Katsushika Hokusai (Japanese, 1760-1849), comprising A sketch of the Mitsui shop in Suruga in Edo (Kōto Suruga-cho Mitsui-mise ryakuzu) and Yoshida along the Tōkaidō (Tōkaidō Yoshida) from the series 'Thirty-six Views of Mount Fuji', oban,26 x 38cm and 26.5 x 39cm (2)Condition ReportYoshida along the Tōkaidō - creasing marks to edges.
Lot 951
ATTRIBUTED TO BERNARD MENINSKY (1891-1950) RECLINING NUDE FEMALE, an unsigned sketch of a female figure, letter of authenticity verso, pencil on paper, approximate size 19cm x 27cm, together with an unsigned study of a reclining nude female, pencil on paper, approximate size 18cm x 22cm, Condition Report: 'Meninsky' drawing has light foxing
Lot 926
PETER BLAKE (1932-) 'AFTER LEDA AND THE SWAN', a print on card depicting a Blake painting in progress, signed in pencil to the lower margin, approximate size 29.5cm x 21cm, Condition Report: light creases to the corners, together with a small selection of prints and a drawing, comprising four Anne Aspinall etchings, two depicting mothers with children, two depicting nude female figures, a Robin Spey charcoal sketch of a mother and child, an etching of a mother and child and a linocut of a female figure, together with a Alan Cownie signed limited edition print of a sitting nude female, approximate size 44cm x 32cm, Condition report: good overall condition (9)
Lot 150
A collection of photographs, letters and ephemera, previously the property of Jane Welby Pugin, (nee Knill, 1827-1909), third wife of Augustus Welby Northmore Pugin, an English architect and a leading figure in the Gothic Revival) including a black and white Photograph of Jane Welby Pugin with her grand children Mary (Pollie) & Charlie Purcell inscribed in ink verso. By J. Usher, Ramsgate, photographer. Leather bound Ursuline Manual book – the inner cover with gilt name Jane Knill, April 1838; (the personal property of Jane Welby Pugin) with ink note affixed inside signed by Jane Welby Pugin ‘I should like this put on my mortuary card’ dated 1887, St Edmunds. The book also containing assorted loose ephemera and religious cards, including folded paper with ink signature of ‘Mrs Welby Pugin’, Calling card printed ‘Mrs Pugin’ 5 Gordon Square, verso a hand inked red LP monogram with crown , cards affixed inside memorials for the repose for the soul of Edward Welby Pugin, 1875, Henry Francis Purcell 1877, Augustus Welby Pugin 1852, John Hardman Powell 1895, Peter Paul Pugin 1904, card inscribed ‘To dear Mrs Pugin Many Happy Returns of the day From Molly Furrell’, Blue Cross Ransomers card in the name of Jane Welby Pugin, Apostleship of Prayer certificate of membership for Jane Welby Pugin etc, small ink sketch on paper titled ‘Distant Prospect of Birmingham Drawn during an east wind’ with monogram JK etc (q) Letter in ink signed Jane Welby Pugin dated 1903 ‘To my dear little God daughter…’, another on blue paper with P monogram, to ‘My dearest Pollie’ signed ‘your loving grandmother Jane Welby Pugin’, an envelope addressed to Miss Pollie Purcell, and a quantity of letters to Pollie Purcell, some in ink signed Mollie Purcell, and Mattie (or Mathe) Thunder, various letters and documents pertaining to Margaret Eily Gladstone, including her will dated Nov 1859 (She was the third child of Margaret Mary Pugin and Henry Francis Purcell, Eileen, known as Margaret Eily or Eily, was born 1875. (1 box) Provenance: From the Estate of the late Ralph Robert Alford, son of Robert Edwin Alford, K.B.E, C.M.G, and Teresa, Lady Alford, nee Teresa Mary Margaret Knill, who was daughter of Mary Kathleen Knill, grand-daughter of Margaret Mary Knill (married to Henry Francis Purcell), and great-grand daughter of Jane Knill, (married name: Jane Welby Pugin, who was the third wife of Augustus Welby Northmore Pugin).
Lot 179
Augustus Welby Northmore Pugin (1812-1852): ‘Interior of S. Vincent, Rouen’, watercolor of a church interior, titled to the mount, signed lower right ‘Pugin 1837’. Verso inscribed in ink `Painted by Augustus Welby N Pugin, the property of Jane Welby Pugin March 1886,’ plus another affixed paper inscription in ink ‘This sketch was taken out of my book of sketches Decr 1882, Jane Welby Pugin’ With paper label for Burlington Fine Arts Club signed in ink P.P. Pugin, 16 24cm, mounted, glazed and framed 35 by 44cm.Provenance: Estate of Ralph Robert Alford, son of Robert Edwin Alford, K.B.E, C.M.E, and Teresa, Lady Alford, nee Teresa Mary Margaret Knill, who was daughter of Mary Kathleen Knill, grand-daughter of Margaret Mary Knill (married to Henry Francis Purcell), and great-grand daughter of Jane Knill,(married name: Jane Welby Pugin (1827-19090) who was the third wife of Augustus Welby Northmore Pugin. Teresa was niece of Margaret Eily Gladstone (third child of Margaret Mary Pugin).
Lot 158
JACOBI 13 - reihiges Perlencollier, Keshiperlen, Schmuckteil besetzt mit graviertem Saphir von ca. 26,5 ct, Fassung und Schließe besetzt mit Brillanten von zus. ca. 0,50 ct, gute Farbe und Reinheit, GG 18K und Platin 950/000, 45,0 g, L.: ca. 34 cm, 1980er Jahre, leichte Tragespuren, Saphir mit fein gravierter antikisierender Darstellung: Hebe tränkt den Adler des Zeus. Schmuckpass und Skizzenblatt.| JACOBI 13 - row necklace made of Keshi pearls, finely engraved sapphire approx. 26.5 ct, setting and clasp set with brilliant-cut diamonds totalling approx. 0.50 ct, good colour and clarity, 18K YG and platinum 950/000, 45.0g, length approx. 34 cm, 1980s, minor signs of wear, engravement is showing "Hebe waters the eagle of Zeus", jewellery certificate and draft sketch.
Lot 2081
A rare caricature map/comic sketch of England, featuring John Bull reading The Times, Mr Punch and a Welsh woman, along with coastal place names, published Ormistone & Glass, Edinburgh, 11 3/4" x 15 3/4", and another framed Print "A prize Fight" published McClean 1820, I Clark Sculpt, 11" x 14 1/2".
Lot 302
R W A Rouse (1867-1951) - 'Old Mill, Brill, Bucks', etching, signed and titled in ink to margin, 15 x 22 cm to/w an unfamed etching of the same view, pencil signed and dated 1951, 15 x 23 cm and an unframed pen and ink sketch of the same view, 14 x 16.5 cm (3) Prov - The artist's family thence by descent
Lot 304
R W A Rouse (1867-1951) - Sketch of street in Blidah, Algiers, watercolour, signed, 13 x 8 cm to/w an etching of street view, 17.5 x 10 cm; etching of cottage, pencil signed and dated 1946, 20 x 12.5 cm and another unframed etching of the same (4) Prov - The artist's family thence by descent
Lot 126
A large folio containing various loose works such as bookplates, prints - Aberdeen Architectural Association Sketch Book Vol 1, Charles Turner ARA (1774-1857) after Benjamin Marshall (1768-1835) Mr John Jackson print, portrait of Luisa Fernanda Duquesa de Montpensier, sculpte par Marie d'orléans, portrait of S.A.R.M. Le Comte de Paris, Breaking up for the vacation published August 11th 1840, various other portraits and artwork prints etc. (alot)
Lot 189
Percy Robert Craft R.B.C. R.C.A. (British, 1856-1934), 'Sketch: A Little Bit Of France', oil on board, seemingly unsigned, the back board with applied paper labels, one for James Bourlet & Sons for the framing on 28th September 1937, one with typed text reading 'I, H.B. Craft, son of Percy R. Craft, R.B.C. R.C.A., certify that this picture was painted by my Father and was sold by me in his Studio at No.77 Bedford Gardens, Kensington W.8. in April 1935', titled and signed in ink, and the other with the (presumed) buyer's name 'Mrs Douglas Grey', framed and glazed in an ornate frame finished in brown mottled silver, frame 43cm highest, 34cm widest.Condition: Painting not examined out of frame, but seemingly undamaged with intact surface. Frame with losses to moulding at bottom left outer corner and top left inner corner.Packing & Shipping Let us take the hassle of sorting out packing and shipping from you. Mark Hill Auctions is delighted to be able offer the buyer an in-house packing and shipping service for this lot. We use UPS for shipping and all packages are sent with a minimum of a tracked service. We do not use any other service such as Royal Mail. Please see below for cost estimates, including packing:UK (Guaranteed Price): £19.01 USA (Estimated Price): £53.00 EU (Estimated Price): £25.00 R.O.W. (Estimated Price): £52.00All above quoted packing and shipping prices will have VAT added at 20%. Unless otherwise indicated above, these are estimates only but we aim to be as accurate as possible. To request packing and shipping, please wait for your invoice to arrive by email and click on the ‘Request Postage’ button on your invoice, or contact us by email requesting packing and shipping for your lot(s). The actual packing and shipping cost will then be added to your invoice and your invoice will be resent to you for payment.IMPORTANT When you request your lot(s) to be packed and shipped, you understand and agree that you are committing to pay for packing and shipping because, in order for us to give you an accurate cost, we need to pack the lot(s) to ascertain the final weight and size. By doing that, we have already incurred cost by spending time and using materials to pack your lot(s). Therefore this charge must be paid, even if you later decide to collect your lot.INSURANCE The above quotes do not include insurance. If you require insurance, please request this when you request your lots to be packed and shipped. We can only know the cost of insurance after the hammer falls as it is only then that we will know the value to be insured.MULTIPLE PURCHASES The estimates above are for this lot only. If you buy multiple lots from this auction, they can be combined where possible into one or more packages - size, shape and weight permitting. For these packages containing multiple lots, you will receive a discount of 17.5% of the total of the applicable quotes listed for those lots.Please note that this packing and shipping service is undertaken entirely at the buyer’s risk. Whilst we take the utmost care to pack items as well as we can, we cannot be held responsible for any damage to, or loss of, items packed and sent to you. By paying for our in-house packing and shipping service, the buyer agrees that any items are sent entirely at their own risk and that no compensation can be offered for any loss or damage. Lots must be paid for in full before they will be released.
Lot 373
**DESCRIPTION CHANGE** *Alexander Walton?, Jean-Jacques Rousseau's garden*, oil on canvas, 40cm x 50cm, framed Good condition, slightly dirty. *Frame is annotated to reverse "I painted the watercolour sketch of Jean-Jacques Rousseau's Ga...... Ermenonville in 1930 and from it I painted the oil version soon afterwards. I think and certainly not later than 1934 Alexander Walton?"*
Lot 160
Medals: a WWII group of five and related ephemera, to 1377079 W/O J A Wallis No.464 Squadron Royal Australian Airforce RAF, British Prisoner of War No.954; to include: a wartime log listing the prisoner of war camps he was interned at; a pencil sketch and cast list for a camp concert, which included Roy Dotrice; letters and telegrams from The Air Ministry informing his wife that he is missing on the 6th December 1942 and confirmed as a prisoner of war on 24th December 1942; and various related and family photographs.
Lot 365
William Faden, (1749-1836) – 'Plan of the coast of Cherbourg, with A Sketch of the Works which the French are now executing to inclose and defend the road, &ca.', with text beneath 'Description of the truncated cones, or conical caissons, now constructing to cover the road of Cherbourg...', published 14th May 1787, plan plate impression size 35cm x 48cm, overall including text 51.5cm x 48cm, in card mount and Hogarth-type frame under glassWilliam Faden (1749–1836) was a notable English cartographer and publisher of maps and served as the Royal Geographer to George III.
Lot 1019
David TREMLETT (1945) Sketch for Miro Graphite on paper, signed with initials, titled and dated '93, further signed verso, 15cm x 21cm, 39.5cm x 45.5cm framed. In January 1997, artist Bob Devereux suffered a stroke. In March, Martin Val Baker and Anthony Frost devised a plan to hold a fundraising sale for his benefit where artists were asked to produce work which was sold at £30 each. David Tremlett sent two leaves from his sketch pad to Martin. The sketches were part of his preparation for an exhibition at the Miro Foundation, Barcelona in 1993.
Lot 75
* LADY LUCINDA MACKAY (SCOTTISH b. 1941), MADRID CITY CENTRE oil on canvas, signed, titled and dated '17 versoframedimage size 41cm x 51cm, overall size 49cm x 59cm Exhibition label verso: 1 - 15 September 2018, The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.
Lot 167
* ALEXANDER MILLAR (SCOTTISH b. 1960), UNTITLED SKETCH pencil on paper, signedmounted, framed and under glassimage size 20cm x 14cm, overall size 51cm x 44cm Note: Ayrshire born Alexander Millar, one of the UK’s most loved and collectable artists, is a self-taught, contemporary impressionist artist, whose work depicts the small wonder of the everyday. He is one of the few living artists in the UK who have had museum exhibitions in Newcastle (The Great North: Hancock), Glasgow (Scotland Street Museum) and New York (The Fire Dept. Museum of New York). His work has also been displayed in public venues, such as shopping centres and metro carriages, as well as being used as scenic backdrops for theatrical productions. His atmospheric landscapes capture memories of life in the 50's and 60's and his impressionist brush strokes and tones create a romantic view of that era, often playing with the effect of light as it is reflected on a wet tiled roof, transporting the viewer back to the cityscapes of their own childhood. From an early age he has viewed his surroundings and the people he grew up with as if they were a carefully choreographed street ballet: old men on bikes coming home from a hard day’s graft, the gossiping women standing on the street corner or the working man staggering home after a payday night on the town.
Lot 171
* ALEXANDER MILLAR (SCOTTISH b. 1960), UNTITLED SKETCH pencil on paper, signedmounted, framed and under glassimage size 20cm x 14cm, overall size 51cm x 44cm Note: Ayrshire born Alexander Millar, one of the UK’s most loved and collectable artists, is a self-taught, contemporary impressionist artist, whose work depicts the small wonder of the everyday. He is one of the few living artists in the UK who have had museum exhibitions in Newcastle (The Great North: Hancock), Glasgow (Scotland Street Museum) and New York (The Fire Dept. Museum of New York). His work has also been displayed in public venues, such as shopping centres and metro carriages, as well as being used as scenic backdrops for theatrical productions. His atmospheric landscapes capture memories of life in the 50's and 60's and his impressionist brush strokes and tones create a romantic view of that era, often playing with the effect of light as it is reflected on a wet tiled roof, transporting the viewer back to the cityscapes of their own childhood. From an early age he has viewed his surroundings and the people he grew up with as if they were a carefully choreographed street ballet: old men on bikes coming home from a hard day’s graft, the gossiping women standing on the street corner or the working man staggering home after a payday night on the town.
Lot 170
* LADY LUCINDA MACKAY (SCOTTISH b. 1941), WALLFLOWERS, MENAGGIO, ITALY acrylic on canvas, signed, titled and dated '17 versoframedimage size 41cm x 51cm, overall size 49cm x 59cm Exhibition label verso: 1 - 15 September 2018, The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.
Lot 108
* GAIL STIRLING ROBERTSON, SOUTH QUEENSFERRY SMOKE acrylic on board, signed, titled versoframed and under glass image size 17cm x 17cm, overall size 32cm x 32cm Artist's label versoNote: Gail has always been a fan of unusual and imaginative art. As a child she discovered the paintings of Rodney Matthews and Roger Dean on album covers and posters, and admired their ability to create a whimsical version of ordinary things. At school, Salvador Dali was an artistic influence, and she was lucky enough to get up close to several of his paintings in the MoMA in New York. As a huge music fan, Gail briefly studied sound engineering after deciding she did not want to go to Art school (despite preparing a portfolio). However, she continued to paint while working and raising her two children, and decided to become a self-employed artist in 2011. For artworks where specific locations are featured, Gail uses photographs to help with initial building placement, but will manipulate and change the structures to provide the most pleasing composition. This manipulation is not only helpful when hiding some of the less attractive features of a scene, but allows her to enhance features which might normally be overlooked. Painting on either stretched canvas or canvas board, Gail will usually cover the whole area with a theme colour which dictates the overall mood of the finished piece. She will then sketch in the main features of the painting using pastel pencil, moving the lines with a wet paintbrush until the desired positioning is achieved. The painting is built up from there. Gail's work is exhibited widely at numerous galleries in Scotland.
Lot 169
* ALEXANDER MILLAR (SCOTTISH b. 1960), UNTITLED SKETCH pencil on paper, signedmounted, framed and under glassimage size 20cm x 14cm, overall size 51cm x 44cm Note: Ayrshire born Alexander Millar, one of the UK’s most loved and collectable artists, is a self-taught, contemporary impressionist artist, whose work depicts the small wonder of the everyday. He is one of the few living artists in the UK who have had museum exhibitions in Newcastle (The Great North: Hancock), Glasgow (Scotland Street Museum) and New York (The Fire Dept. Museum of New York). His work has also been displayed in public venues, such as shopping centres and metro carriages, as well as being used as scenic backdrops for theatrical productions. His atmospheric landscapes capture memories of life in the 50's and 60's and his impressionist brush strokes and tones create a romantic view of that era, often playing with the effect of light as it is reflected on a wet tiled roof, transporting the viewer back to the cityscapes of their own childhood. From an early age he has viewed his surroundings and the people he grew up with as if they were a carefully choreographed street ballet: old men on bikes coming home from a hard day’s graft, the gossiping women standing on the street corner or the working man staggering home after a payday night on the town.
Lot 385
Auguste Rodin (French, 1840-1917). Graphite on paper sketch depicting a reclining nude female figure. Pencil signed along the lower right.Lot Essay:Auguste Rodin was a pioneering French sculptor, often regarded as the father of modern sculpture. Known for his dynamic and expressive forms, Rodin transformed traditional approaches to art through his emphasis on movement and emotional depth. While his sculptures brought him worldwide acclaim, Rodin's sketches and drawings were equally vital to his artistic process and legacy.Rodin's sketches were marked by their fluid, spontaneous quality, showcasing his understanding of the human form. He used drawing as a tool to explore and experiment with ideas, capturing the essence of a figure with rapid lines and minimal detail. These works are not just preparatory studies for sculptures but are regarded as standalone pieces that revealed his fascination with movement and the human body's expressiveness.His use of sketching evolved over time, shifting from detailed academic studies to looser, more abstract lines that conveyed movement and emotion, such as the lot offered here. Rodin often drew in pen, pencil, or watercolor, and his later works displayed a more liberated, almost impressionistic style. These sketches embodied his belief in capturing the living energy of a subject rather than striving for classical perfection. Through these sketches, one can understand his pursuit of capturing the human condition, allowing his two-dimensional works to become as powerful and evocative as his sculptures.Sight; height: 7 1/2 in x width: 11 3/4 in. Framed; height: 25 1/4 in x width: 21 3/4 in x depth: 1 in.Condition: The sheet is toned. There are no major visible restorations. There is a minute loss along the left center edge measuring approximately one inch tall by a quarter inch wide. Faint creases and handling marks throughout. There is a small dark area of soiling along the upper center third. Housed under an acidic mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
Lot 456
Paul Cadmus (American, 1904-1999). Graphite on paper drawing depicting a study or sketch of two figures posing with chairs.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 14 1/2 in x width: 11 in.Condition: There are no major visible tears, creases, or restorations. The sheet is toned. There is a staple affixed to the upper right corner of the work. Light wear along the deckled left and right edges. There is a minute area of soiling along the lower right edge. The work is not framed.
Lot 458
Paul Cadmus (American, 1904-1999). Crayon on paper drawing depicting a sketch of a nude seated figure.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 19 in x width: 14 in.Condition: There are no visible restorations. Some wear along the edges including light creases, handling marks, and minute frits. There is a minute dark accretion along the woman's left shoulder, possibly original to the artistic process. There is a loss to the lower right corner of the sheet measuring approximately 1 inch by 1/2 inch. Along the verso, there are small dark accretions along the extreme edges of each corner, possibly adhesive residue from tape. The work is not framed.
Lot 457
Paul Cadmus (American, 1904-1999). Crayon on paper sketch drawing depicting three female nudes. Signed along the lower right. With an additional figural drawing along the verso.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 10 1/4 in x width: 19 in.Condition: There are no major tears, losses, or restorations. Light wear along the deckled edges including some handling marks, faint creases along the left and right edges particularly, and frits, mainly along upper and lower edges. There is a small darkened scuff along the upper left edge that is possibly graphite transfer original to the artistic process. The work is not framed.
Lot 707
Autographed Correspondence: John Betjeman English Poet Laureate (1906-1984) to Paul Paget (British Architect (1901-1985) m/s on 43 Cloth Fair, London. E.C.I. note paper. 2 sides with pencil sketch plus three signed postcards plus one t.l.s. addressed to Verily Paget (née Anderson) on 43 Cloth Fair note paper plus two associated (8)
Lot 573
Georg August Christian Kestner (1777-1853) Diplomat and Art Collector. Pencil sketch of five profile heads identified in MS note as Anne, Louisa, Elizabeth and Mary Butler, and Lord Richard Butler, 'drawn by Chevalier Kestner (Hanoverian Minister) at Rome 1837', 43 x 26cm, in portfolio decorated with drawings in the style of Tenniel
Lot 573
1836 Free Front Signed by Sir John Poo Beresford (1768 - 1844). Personally Signed by Sir John Poo Beresford, 1st Bt. (1766-1844), Admiral and Conservative politician: MP for Coleraine, Berwick-upon-Tweed, Northallerton and Chatham. This officer is a son of George, first Marquis of Waterford, K.P., and elder brother of Lieutenant-General Lord Beresford, G.C.B. Early in 1795, we find him commanding the Lynx sloop of war, on the American station, where he captured la Cocarde, a French corvette, of 14 guns and 80 men. On the 25th June, in the same year, he was promoted to the rank of Post-Captain, sometime previous to which he had been appointed to the Hussar, of 34 guns, and assisted at the capture of la Prevoyante, a large frigate, armed en flute, and la Raison, pierced for 24 guns, but only 18 mounted. Captain Beresford's next appointment was to la Prevoyante, and from her he removed, about the month of May, 1796, into la Raison, the force of which latter vessel had been increased to 30 guns, with a complement of 195 men. On the 25th August following, he fell in with the Vengeance, a large 18-pounder French frigate, from which he had the good fortune to escape, after a running fight of considerable duration, in which la Raison had 3 men killed and 6 wounded, besides being much cut up in her sails and rigging. Our officer subsequently commanded l'Unité, of 38 guns, on the Leeward Islands station, where he captured the Perseverance French privateer, of 16 guns and 87 men, Feb. 2, 1800. From l'Unité he removed into the Diana, another fine frigate, in which he was present at the reduction of the islands of St. Bartholomew, St. Martin, by the forces under Rear-Admiral Duckworth and Lieutenant-General Trigge, in the spring of 1801. On the renewal of hostilities in 1803, he obtained the command of the Virginie, a frigate of the largest class; but that ship being paid off in Aug. 1804, he was then appointed to the Cambrian, of similar force, and sent to the Halifax station, where, in the summer of 1805, he captured the following privateers; Matilda, of 20 guns and 95 men; Maria, of 14 guns and 60 men; and a schooner, of 6 guns and 70 men. In the spring of 1807, Captain Beresford commanded the Illustrious, of 74 guns, off Cadiz; and in the ensuing summer, the Theseus, another third rate, employed in the blockade of Rochefort. On the 21st Feb. 1809, being off l'Orient in company with three line-of-battle ships, he fell in with a French squadron, consisting of 8 sail of the line, one of them a three-decker; and by his spirited conduct, prevented them forming a junction with the ships in that port ready for sea. The enemy afterwards anchored in Basque Roads, where they were blockaded by Rear-Admiral Stopford's squadron, of which the Theseus formed a part until the month of April following, at which period an attack was made upon them in Aix Road, to which they had retired, by a division of Lord Gambier's fleet, preceded by some fire-vessels, under the command of Lord Cochrane, the result of which was the destruction of one 80-gun ship, two 74's, and one of 56 guns. Several others, from getting on shore, if not rendered altogether unserviceable, were at least disabled for a considerable time. Early in 1810, the subject of this sketch was appointed to the Poitier's, a new 74, in which ship he served for some time on the Lisbon station, and was then ordered to the coast of North America. He sailed from Portsmouth, in company with Sir John B. Warren and squadron, Aug. 14, 1812; previous to which he had acted as proxy for his brother, at an installation of the Knights of the Bath, and, as is usual on such occasions, received the honour of knighthood prior to the ceremony. On the 18th of October following, Sir John P. Beresford captured the American ship Wasp, of 20 guns, and retook the British brig of war Frolic, which had been taken by the former a few hours before, after a gallant action of fifty minutes[. The Poitier's subsequently assisted at the capture of the Herald letter of marque, mounting 10 guns, with a complement of 50 men, from Bourdeaux bound to Baltimore, with a cargo; the Highflyer, American privateer, of 5 guns and 72 men; and the York-town, of 20 guns and 140 men. Towards the latter end of 1813, the Poictier's returned to England, and was put out of commission. At the general promotion, June 4, 1814, Sir John P. Beresford, who had been raised to the dignity of a Baronet of Great Britain on the 7th of the preceding month, was advanced to the rank of Rear-Admiral, and soon after hoisted his flag in the Bombay, of 74 guns, from which ship it was subsequently removed into the Duncan, of the same force. About the same period he had the honour of kissing hands on being appointed a naval aid-de-camp to H.R.H. the Prince Regent, then on a visit, in company with the allied sovereigns, to the fleet at Portsmouth. On the 12th Aug. 1819, Sir John P. Beresford was nominated a K.C.B.; and early in the following year he hoisted his flag in the Dover, of 28 guns, as Commander-in-Chief at Leith. He has recently been elected M.P. for Berwick-upon-Tweed.. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 298
Murchison (Roderick Impey). Siluria. The History of the Oldest Fossiliferous Rocks and their Foundations; with a brief sketch of the distribution of gold over the earth. Third edition with maps and many additional illustrations, London: John Murray, 1859, colour lithographic frontispiece, 41 uncoloured plates including 7 double-page, 32 pp. adverts (dated January 1859), folding geological map of the Silurian Rocks (420 x 395 mm) in pocket at rear, folding sketch map, tabular diagram and numerous wood engravings to text, occasional spotting and light old damp staining to plates and descriptive text leaves at rear, small bookseller’s ticket to front pastedown, original blind-stamped brown cloth gilt, some fading to spine and extremities, large, thick 8vo QTY: (1)NOTE:Lots 263-331 comprise the residual book stock of Hamish Riley-Smith (1941-2020).A good copy of the third edition of this landmark geological work, first published in 1854.
Lot 340
Cabanis (Pierre Jean). Sketch of the Revolutions of Medical Science, and Views relating to its Reform. Translated from the French with notes by A. Henderson, London: J. Johnson, 1806, preliminary leaves misbound but complete with errata leaf, contemporary tree calf gilt, some wear to extremities, 8vo, together with: Mackenzie (Morell), Use of the Laryngoscope in Diseases of the Throat, with an Appendix on Rhinoscopy, 2nd revised and enlarged edition, London: Robert Hardwicke, 1866, 3 pp. adverts at rear, some illustrations to text, original cloth gilt, slightly rubbed and a little frayed at spine ends, 8vo, plus Russell (J. Rutherfurd), The History and Heroes of the Art of Medicine, 1st edition, London: John Murray, 1861, engraved frontispiece and illustrations to text, publisher’s adverts at rear, partly uncut and unopened, contemporary ink inscription to front free endpaper, original cloth gilt, spine faded, slightly rubbed to extremities, 8vo, plus other medical interest including cardiology, circulation and several biographies including Baron’s Life of JennerQTY: (21)
Lot 98
Tehuantepec Isthmus. Barnard (J.G.), Eight maps from the survey to create a trade route across the Tehuantepec Isthmus. Plan of that part of the Isthmus of Tehuantepec between the Jaltepec River and the Pacific Plains; Embracing all of the Engineering difficulties... Chart of the Entrance and Channel of the Boca-Barra... Mouth of the Coatzacoalcos River... Map of the Coatzacoalcos River... Map of the River Uspanapa... Sketch of the Mouth of the Coatzacoalcos River... Charts of the Ports of Laventosa & Salina Cruz... Map of the Isthmus of Tehuantepec embracing all Surveys of the Engineering & Hydrographic Parties and Shewing the Proposed route of the Tehuantepec Rail Road... New York & New Orleans: Tehuantepec Rail Road Company, 1847-1851, 8 uncoloured engraved & lithographic maps, sectionalised and laid on linen, some spotting and offsetting, various sizes, contained with marbled card slipcase, wornCentral America. Wyld (James), Map of Central America Shewing the Different Lines of Atlantic & Pacific Communication, London: James Wyld, 1850, folding lithographic map with contemporary hand colouring, inset geological map of the Isthmus of Panama, trimmed to printed area of the left margin, some marginal closed tears, 600 x 810 mm QTY: (2)
![* Gillray (James). The King of Brobdingnag and Gulliver [H. Humphrey, June 26th 1803], etching with aquatint on wove, contemp](https://cdn.globalauctionplatform.com/f54c81ac-b580-4e6f-aec7-b2650117b382/018b4938-6bd8-4cf1-81f1-b26701148d6e/468x382.jpg)
Lot 114
* Gillray (James). The King of Brobdingnag and Gulliver [H. Humphrey, June 26th 1803], etching with aquatint on wove, contemporary hand colouring, trimmed with loss of the printed borders and the publication line, 280 x 210 mm, together with A Military Sketch of a Gilt stick, or Poker Emblazoned, H. Humphrey, June 11th 1800, etching with aquatint on wove, contemporary hand colouring, trimmed to the image, 255 x 205 mm, with Rowlandson (Thomas). Medical Dispatch or Doctor Doubledose Killing Two Birds with One Stone, circa 1810 [and] A Sufferer for Decency, circa 1797, two etched caricatures with contemporary hand-colouring, both images trimmed to the neatline and laid on later card, each approximately 330 x 230 mm, plus Marks (J. Lewis). St James' Street in an Uproar or the Quack Artist and his Assailants..., S. W. Fores, 1819, etched caricature on laid, trimmed to the image, some adhesion scaring to the verso, 210 x 3110 mm, and one other caricature similarQTY: (6)
Lot 314
Snell (James). A Practical Guide to Operations on the Teeth. To Which is Prefixed a Historical Sketch of the Rise and Progress of Dental Surgery, 1st American edition, Philadelphia: Carey & Lea, 1832, 5 engraved plates, contemporary, large ink ownership name of James B. Eames at head of title, some spotting, uncut, old cloth-backed boards, some soiling and wear to backstrip, 8vo, together with:Ruspini (Bartholomew), A Treatise on the Teeth…, 3 parts in one, 8th edition, London: Printed for the Author, 1797, [4], 75, [1], [2], 43, [1], 60 pp., first leaf blank, separate title to second part, original printed pink wrappers, rubbed, some loss to spine, lower wrapper slightly creased, 12mo, preserved in a gilt-titled cloth wallet with button fastenerQTY: (2)NOTE:Lots 263-331 comprise the residual book stock of Hamish Riley-Smith (1941-2020).Snell's book was first published in London in 1831. The illustrations include an operating chair and various dental instruments. In the historical sketch Snell refers to the works of Martin, Berdmore, Fauchard, Geraudy, Larini, Mouton, Lecluse, Bunun, Dubois de Chemant, Hunter, Blake and Fox. The chapters include The Operating Chair, Extraction of the Teeth, Excision of the Teeth, The Dental Mirror, Stopping, Scaling the Teeth and Ligatures for Fastening Loose Teeth.
Lot 408
Five framed and glazed pictures by Joan ZUCKERMAN(1918-2000), to includer, Harvest, initialed lower right; Budding Barley Field, initialed; and Sheep under Trees, initialed and label and writing verso says ink monoprint; , Hillock Wood Burnam Thorpe number 130, label and writing verso; largest overall including frame 52cm x 65cm and a framed and glazed chalk sketch of a garden, signed Joan Zuckerman and inscribed verso. Part of the Eaton Square clearance
Lot 220
19th century pencil sketch on embossed buff paper, titled View from the Duke of Bedford's Hunting Lodge at Glen Feshie in the Highlands of Scotland, understood to have been drawn by Sir Edwin Landseer, monogram E.L dated 1850 approx 11 x 7.4 cms, framed and glazed. Note: Duke of Bedford was an early patron of Landseer who during 1820's and 30's painted the family on many occasions. Landseer was a regular guest at Woburn Abbey and also The Doune Hunting Lodge in the Cairngorms of Scotland. The sketch was given to S.B Danon. Condition ReportThere are losses to the upper left corner of the frame and also to the lower right corner of the frame, with other small losses to other areas of the frame.
Lot 174
Attributed to Matthew Shepperson (1785-1874)Portrait of Lord Arthur Augustus Edwin Hill (1800-1831)shoulder-length, in profilein a feigned ovaloil on canvas76cm x 63cm Ombersley Court, Worcestershire. Arthur Augustus Edwin Hill was the son of Arthur Hill (1753-1801), Viscount Kilwarlin and Viscount Fairford, later Marquis of DownshireBears transcription to the reverse reading: 'Ombersley Court May 1857, this picture was copied by Mr Shepperson from a pencil sketch done many years ago at Rome of my brother Augustus, many years after his death and is very like. [signed] Sandys' The painting has clear condition issues, mainly comprising bitumen damage evident across the canvas surface. There is evidence of restoration around the sitter’s face, the glossy texture of which contrasts with the generally matt texture of the canvas. The picture surface is stable otherwise. Craquelure throughout. The painting is unlined. Damage and loss to the frame.
Lot 582
Edward Duncan RWS, British 1803-1882- Pencil Sketch of Whitby Harbour 1867. The sketch shows two boats in the harbour with various figures on and around them including a horse and cart. Titled dated and signed bottom left. Mounted behind glass in a thin gilt frame. Picture is 33cm by 24cm. (1)
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