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Lot 52
FIRMIN SALABERT (1811-1895) Portrait of a Lady seated wearing a white dress signed and dated `F.Salabert 1850` watercolour 18 1/2 x 12in (46.9 x 30.5cm); an oil sketch depicting a Lady by a follower of William Powell Frith R.A.; and an early 20th Century Continental Miniature depicting a family group; three (3)
Lot 702
AMENDMENT: The second item is by George Edmund Street not Sketch: Daniel Maclise RA, British 1806-1870- `Portrait of J P Knight RA`; brown ink on paper, inscribed verso, signed, 13.6x10cm: George Edmund Sketch, British 1824-1881- `Council Sketch`; ink on paper, signed, titled and dated March 23rd 1874: British School, mid/late 19th century- Portrait of a lady; ink on paper, 17x10.5cm, (3) Provenance: Property of the Markham family, William Markham married Daisy Grant, daughter of Sir Francis Grant RA, and thence by descent
Lot 1121
Francis Lennon MBE, (b.1912)-ink sketch and wash `Geisha Girl with Flowers and Parasol`, signed, 16.5x11.5cm, also seven limited edition and artist proof prints, comprising `Rain or Shine`, `We`re on Time`, `Sunday Best`, `The Concertina Man`, `Cherish`, `Lovers` Lane`, `East Lands and Down Our Way`, (8)
Lot 47
Thomas Snagg (1746-1812) VIEW OF CLONTARF CASTLE, 1805 oil on canvas signed and dated lower right 60.96 by 91.44cm., 24 by 36in. L "Stackallan House Co. Meath Sale, Christie`s, 20 October, 1992, lot 197; Private collection This rare Thomas Snagg oil painting places its main feature- Clontarf Castle - on the left-hand side of the picture, a characteristic also found in the works of his exact contemporary William Ashford who had dominated Irish landscape painting for a quarter of a century before Snagg put brush to canvas here in 1805. The castle stands on the site of the Norman fortress built around 1200 by the Knights Templar and the tower at the right-hand end of the building may be part of a later medieval commandery of the Knights Hospitallers to whom the property was transferred in the 14th century. The remainder of the castle seen in Snagg`s canvas is probably a creation of the later18th century; one of the earliest examples of the Neo-Gothic style in Ireland, and the predecessor of the present Tudor-Revival structure designed by William Vitruvius Morrison in 1836. A closer view of 1772 by Gabriel Beranger, of which there is a watercolour copy in the National Library, shows out the Gothic fenestration more clearly. In 1998, Sotheby`s auctioned for £40,000 a sketch of the castle of around 1817, allegedly by the famous English painter J.M.W. Turner, which was apparently copied from an original by Maria Sophie Vernon. She was a member of the family which had been in residence since the mid-17th century - the builders of the structure painted by Snagg - and whose name is still attached to the various roads in the vicinity. It is doubtless they or their guests feature in the charming vignette in the bottom of the picture, seen on the horse-drawn carriage at the top of the road leading down to the sea.The right half of the picture gives a break in the foliage to reveal a splendid vista of Dublin Bay, reaching as far as the two Sugarloaves - Dunleary (afterwards, Kingstown and later Dún Laoghaire) before its harbour was built. A notable feature is the South Wall, finished in 1786, and extending from Ringsend (out of sight) past the Pidgeon house out to the old Poolbeg Lighthouse which helped guide shipping up the River to the Custom House, completed only fourteen years before Snagg`s panorama was created. A most unexpected, and rather fanciful, feature of the picture is the series of houses and other buildings presented at such a scale as to be almost Lilliputian, and placed along the shore where there were probably slobs at the time, a plan to reclaim which was prepared in the year of the painting, 1805. Snagg, thrice married, was born in London and became a successful actor, performing with David Garrick at Drury Lane. He took up painting around the mid-1770s and travelled as far as St. Petersburg, where he painted Empress Catherine the Great. On his return journey, Robespierre arrested him and his family in northern France, where he was held captive for more than a year - an ordeal he recorded in a print in the British Museum.In 1804, twelve months before he painted Clontarf, Snagg exhibited four landscapes at Allen`s in Dame Street, one of which may have been the view of Dublin Bay seen from the University Rowing Club in Ringsend now in the National Gallery of Ireland, and which - like the Clontarf picture - has the main building on the left-hand side of the painting.Dr. Peter HarbisonHonorary Academic Editor, Royal Irish AcademyFebruary, 2012
![Ernest Columba Hayes RHA (1914-1978) STILL LIFE, 1960 oil on board signed and dated [26 October] lower right; with sketch and](http://lot-images.atgmedia.com/SR/10092/2856665/95-2012225124824_468x382.jpg)
Lot 95
Ernest Columba Hayes RHA (1914-1978) STILL LIFE, 1960 oil on board signed and dated [26 October] lower right; with sketch and inscriptions on reverse 24.13 by 34.29cm., 9.5 by 13.5in. L Estate of Hildegard Hayes, the artist`s wife "A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”
Lot 96
Ernest Columba Hayes RHA (1914-1978) STUDY FOR "THE BLUE WINDOW", 1961 oil on board signed lower right; with sketch of cottages on reverse 20.955 by 15.24cm., 8.25 by 6in. P Estate of Hildegard Hayes, the artist`s wife "The finished oil for this study was exhibited in the Dublin Sketching Club, 1961, no. 106, at the RHA in 1979, Memorial Panel, no. 103 and at the Hugh Lane exhibition in 1992 (illustrated p. 58 of catalogue).A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”
Lot 102
Ernest Columba Hayes RHA (1914-1978) STILL LIFE WITH JAMESON BOTTLE and A COLLECTION OF SKETCHES oil on canvas; (unstretched); (1); oil on board; (4); pencil on board; (1) variously inscribed on reverse 43.18 by 45.085cm., 17 by 17.75in. L Estate of Hildegard Hayes, the artist`s wife "Sketches include, landscapes one of which is a sketch for The Windmill, 1962. Work in pencil depicts the artist`s wife (squared up for transfer), another inscribed "Sketch by George Wycliffe Yeats (Dentist) Brilliant Amateur. After 1930 I think".A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”
Lot 111
Ernest Columba Hayes RHA (1914-1978) COLLECTION OF PORTRAIT SKETCHES pencil; (7); (all unframed) variously signed, inscribed and dated 40.64 by 30.48cm., 16 by 12in. P Estate of Hildegard Hayes, the artist`s wife "Two of the portraits in the collection are dated March and November 1937 and one 1936. All but one depict female sitters, one of which is Hildegard Hayes, the artist`s wife, inscribed [5 May `60 Connemara] on reverse. A sketch of Eithne Murphy is also included and possibly a Miss Elizabeth Hayes. Average size of portraits given.A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”
Lot 113
Ernest Columba Hayes RHA (1914-1978) COLLECTION OF LANDSCAPE, MARINE & STILL LIFE SKETCHES oil on canvas (unstretched); (3); watercolour; (4) variously signed, inscribed and dated 35.56 by 40.64cm., 14 by 16in. L Estate of Hildegard Hayes, the artist`s wife "Among the sketches include early pastoral landscapes (1935-36), a still life sketch from the artist`s studio, a maritime sketch of a tall ship (1935), and a "rough sketch only (for professional ref.)" dated 20 December 1946, also includes notes on reverse relating to wind and sun direction at 1.30pm on the day of execution.A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”
Lot 269
Jack Butler Yeats RHA (1871-1957) LETTER BY JACK B. YEATS TO MR McLOUGHLIN, 1933 pencil; (on Yeats` [18 Fitzwilliam Square, Dublin] headed paper) signed, inscribed and dated by the artist; with sketch of a woman wearing a hat in another hand on reverse 19.685 by 24.765cm., 7.75 by 9.75in. L Letter dated 31 January 1933 from the artist to a Patron [Mr McLoughlin] regarding the title of a drawing he purchased, the illustration to Dark Eye`d Gypsy O. Some provenance to the acquisition of the drawing noted also.
Lot 1525
Five navy blue hide bound Volumes ``St. Winifred`s or the World of School`` by Fredecir W. Farrar, London, Adam & Clarks Black, 1912, illustrated; ``Caesar a Sketch`` by James Anthony Fronde, Longmans, Green & Co., 39 Paternster Row, 1911; ``Legends of Greece and Rome`` by Grace H. Kupper MA., London, 1912; ``Raphael`` by Henry Strachey, London, George Bell & Sons., 1907; ``Yule-tide Stories`` edited by Benjamin Thorpe, London, 1904; and ``The Great Authors of English Literature`` by W. Scott Dalgleish, MA, Thomas Nelson & Sons. London, Edinburgh and New York, 1906
Lot 369
Boer War an important archive relating to Captain W S Carey, 2nd Battalion, Prince of Wales Own, West Yorkshire Regiment, Natal Frontier, comprising his personal photo album and a series of original pencil campaign sketches including a view of Spion Kop and the plain to Ladysmith. The album comprises approx 68 photos and is a mixture of personal and professionally taken shots. Included are some senior officers such as Buller and there is also one of Cecil Rhodes, but in the main the contents concentrate on the notorious battle of Spion Kop in which the British suffered considerable losses, and after which Buller was relieved of his command and replaced by Lord Roberts. A series of approx 15 photos are particularly important being a professional shots of the preliminary and Spion Kop battles, showing British troops and Boer positions, troops in action etc. One of these shots shows the construction of the pontoon bridge over the Tugela River which was a famous key incident in the campaign. The four original sketches include a detailed panorama of Buller’s and Warren’s attack on Spion Kop showing troop locations, lines of attack and terrain. This is annotated to verso ‘Rough sketch (in haste for post) of Spion Kop from South – as attacked by Gen Buller & Sir Ch Warren’ and is signed. Another sketch annotated ‘View of Spion Kop & plain in rear, seen from N of Ladysmith after the Relief’ is signed and dated by Carey March 5th 1900. Some of the photos are slightly faded as if often the case with albums of this kind. However, all images are legible. The sketches are strong images
Lot 445
India and the Punjab – Historic painting of the Holiest Sikh Shrine the Golden Temple in Amritsar c1850s from the sketch album of Lieut J S Jollife of the RMA East India Company. Watercolour, measures 35cm by 26cm. An extremely rare and early painting of the Golden Temple in Amritsar by a British Artist Lieut Joseph Henry Jolliffe who served with the East India Company in the RMA. The watercolour would have been executed shortly after the British annexed the Punjab. Construction of the temple was begun by Guru Ram Dass, the fourth Sikh Guru, and completed by his successor, Arjan Dev. In 1604, Arjan Dev completed the Adi Granth, the holy scripture of Sikhism, and installed it in the temple. European depictions of the Golden Temple are very rare; this would be one of the earliest views of the holy shrine. Some wear around edges and an indentation across upper part but not affecting Golden Temple. Provenance – Scottish Collection. Painting from an album of Joseph Henry Jollife. 1st Lieut. Royal Marine Artillery.
Lot 24
Illinois. Mitchell (S.Augustus, pub.), Illinois in 1837; A Sketch Descriptive of the Situation, Boundaries, Face of the Country, Prominent Districts, Prairies, Rivers, Minerals, Animals, Agricultural Productions, Public Lands, Plans of Internal Improvement, Manufactures &c.......also Suggestions to Emigrants....., to which are Annexed the Letters from a Rambler in the West, pub. Philadelphia, 1837, engraved folding map with contemp. outline colouring tipped on to front pastedown, some spotting and staining throughout, orig. pubs, printed boards, lacking spine, worn and frayed, 8vo, together with another copy but lacking rear board, plus Curtiss (Daniel S.), Western Portraiture and Emigrants Guide: A Description of Wisconsin, Illinois and Iowa with remarks on Minnesota and other Territories, pub. J.H.Colton, New York, 1852, engraved folding map tipped on to rear pastedown, library label to front pastedown, manuscript ownership signature to first free endpaper, orig. cloth gilt, faded and worn at extrems., 8vo. (3)
Lot 96
Newcome (Rev. Peter). The History of the Ancient and Royal Foundation, called the Abbey of St. Alban, in the County of Hertford..., 2 parts in one, 1793-95, folding eng. frontis., hand-col. folding eng. map (with slight worming to folds), two folding eng. plans, additional eng. plt. & hand-col. single-page map at rear of volume, slight worming to lower margins of last few leaves, contemp. half calf gilt, joints slightly cracked, 4to, together with Cass (Frederick Charles), South Mimms, 1877, four litho plts. (inc. one hand-col.), folding pedigrees, contemp. half calf, joints slightly cracked and some wear, 4to, with Bayne (Robert), Moor Park, with a Biographical Sketch of its Principal Proprietors..., 1871, eight mounted albumen photograph plts. (inc. frontis.), ink stamp to title, a.e.g., orig. cloth gilt, faded and some wear, small 4to, plus three others (6)
Lot 242
*Jerusalem. Bracebridge (Selina Mrs.). Panoramic Sketch of Jerusalem, Taken from the Roof of the Governor`s Palace, 16th December 1834, title page and five (complete) uncoloured litho. plts. which can be trimmed and conjoined to form a panorama, slight fraying and spotting confined to margins, disbound, slim oblong 4to. Selina Bracebridge was a pupil of Samuel Prout. Before settling in Athens with her husband she toured the Levant and produced a series of views on the Lebanon and a panorama of Athens. Blackmer 190. (1)
Lot 434
Marshal (Andrew). The Morbid Anatomy of the Brain, in Mania and Hydrophobia...to which is Prefixed a Sketch of his Life by S. Sawrey, 1815, silhouette port. frontis. (offset onto title), hand coloured folding aquatint plate, contemp. half calf, lacking spine with extant covers detached, 8vo, together with Prout (William), An Inquiry into the Nature and Treatment of Diabetes, Calculus, and other Affections of the Urinary Organs, 2nd ed., 1825, folding hand col. engraved plate, lib. stamps to title, later cloth gilt, 8vo, plus other medical books, mostly 19th century (16)
Lot 155
Cyrus Cuneo. `Sam Weller here; he cus last, towin` you `long with him_`. An original illustration for `The Cruise of the Cachalot`. Oil sketch on board. 9.5in (24.1cm) x 6.5in (16.5cm). Together with another, slightly larger original illustration, inscribed on the verso `It was Angela_` Implying this time it was not the butler. Both unframed. (2)
Lot 520
Edwards, Lionel. A Leicestershire Sketch Book. Written and Illustrated by Lionel Edwards. Small folio, 1935. 8 coloured plates and numerous text illustrations. Some scattered spotting. Original buckram binding with bevelled boards, the spine faded and the edges of the covers with some fading.
Lot 73
John Wilson Carmichael (1800-1868): Sailing Ships in Stormy Seas, monochrome wash signed and inscribed `sketch made for the choice of Charles Cammell Esquire J W Carmichael` (Charles Cammell was a founder of the Cammell Laird shipyard), Isle of Man framer`s label Bregazzi & Co verso 20cm x 31cm
Lot 139
An Art Nouveau silver and enamelled pendant, the elongated shape with Celtic knots to the shoulders and two reserves enamelled in blue / green designed by Archibald Knox, Liberty Jewellery Sketch No. 8149 (by W H Haseler, Birmingham, 1904) (for illustration see Victor Arwas "Liberty Style" - J63 Pages 71/77 and Stephen A Martin "Archibald Knox" Page 255 and 260), 4.2 cm x 3 cm, together with one volume Victor Arwas "Liberty Style" published by Parco 1983, printed paper and boards (ILLUSTRATED)
Lot 581
A VICTORIAN ROSE BOWL with scrolling rim, the body embossed with highly stylised Art Nouveau tendrils and reserves, on moulded foot, 17cm h, by Joseph Rodgers & Sons Ltd, Sheffield 1900 and marked 3877 12 INCH, 42ozs The engraved inscription reads: Presented by the members of the London Sketch Club to John Hassall Esq RI on the occasion of his marriage 3rd September 1903. Provenance: Presented by the London Sketch Club to the artist and illustrator, John Hassell, RI, RMS (1868-1948). ++In fine condition
Lot 18
Cooper (Oriel Jane) original artwork Flower Mouse, 1989, pencil sketch, initialed `JC89`, 123mm x 160mm, original design for greetings card, mounted, framed and glazed; idem, Skipping Mouse, 1989, pencil sketch, initialed `JC89`, 145mm x 123mm, original design for greetings card, mounted, framed and glazed; with artists proofs of the two (on one sheet) numbered `1/1` and signed `Oriel Cooper 09` (3)
Lot 66
Cholmley (Hugh) The Memoirs of Sir Hugh Cholmley, Knt. and Bart. addressed to his two sons. In which He gives some Account of his Family, and the Distresses they underwent in the Civil Wars; and how far he himself was engaged in them .., 1787, 4to., additional extensive manuscript entries bound in to front and rear relating to Sir Hugh Cholmley, pen and ink and watercolour sketch to rear of book, t.e.g., morocco; Legard (James Digby), The Legards of Anlaby & Ganton: Their Neighbours & Neighbourhood, 1926, frontis, plates, half morocco (2)
Lot 112
Aldin (Cecil) Scarlet to M.F.H., 1933, Eyre & Spottiswoode, first edition, plates as called for, dust wrapper; Edwards (Lionel), My Hunting Sketch Book, 1928, 4to., first edition, 15 colour plates, original cloth; idem., My Hunting Sketch Book, Vol. II, 1930, first edition, colour and plain plates as called for, original cloth; Paget (Guy), The Melton Mowbray of John Ferneley (1782-1860), 1931, first edition, dust wrapper (all with some foxing)
Lot 83
JOHN LINELL, artist: a fine pencil sketch bust portrait, heightened with white, of an infant in a bonnet, signed ‘J. L. – Sept. 30th 1819, Southampton,’ on buff paper, 11 x 8 inches [S.] wrapped in a later paper sheet, roughly inscribed “K. Read’s portrait by Linnell,” [see illustration] (1).
Lot 118
[LONDON PANORAMAS] TRENCH (Lieut.-Col.) Lithographic Sketch of the North Bank of the Thames from Westminster Bridge to London Bridge, shewing the Proposed Quay, to which are annexed A Survey…, long obl. folio, printed label as title, 1f. ‘Prospectus,’ 10 litho plates on india paper laid, (numbered 1-8, with 6 & 8 bis), 1 folding plan, stitched in original wrappers, L., January 1825. (1)
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