We found 10991 price guide item(s) matching your search

Antique acanthus carved stone capital, 38cm high

An important Korean court outfit, 19th century, comprising of a cream undercoat, a green silk undercoat, a cream coloured baggy trousers, a green lined jacket with fold over ties, a full length coat, blue with a black outer layer, with double crane embroidered rank badges to front and back, and a white collar protector, two green sleeve protectors, a pair of white socks, a stiff belt with stone plaques attached, a pair of boots, a shagreen case and glasses, a samo hat, a fan inscribed with a poem, another loose rank badge and a sepia photograph which most probably depicts the present lot Provenance: Acquired in Seoul, circa 1865 (according to a letter which is included in the lot) Collection of William Franklin Sands (1874 – 1976) Sale; Salemsbury Hall, Blackburn, where acquired by the present owner in 1978 The letter which accompanies the photograph reads ‘This is a genuine Korean court dress bought by myself some 45 years ago in Seoul, the capital of Korea; it was worn once at a fancy dress party before the King of Saxony in Leipsic. They are now not to be had anymore, as the Korean people like the Japanese are now wearing a kind of European dress. LM Etwell ?’William Franklin Sands was the highest-ranking foreign adviser in the Korean government in the twilight years of the Choson dynasty. He was a United States diplomat most known for his service in Korea on the eve of Japan's colonization. across all items, - signs of wear, missing stitches and holes, discolouration. belt - this is a composition of hessian, card wrapped with silk, fitted with stippled lacquer sections which have been wrapped around the edges with white metal. this is in rather poor condition with the layers splitting apart, the clasp is only partial and the hook is missing. Main robe - this has a white lining, overlaid by a celadon coloured silk lining, and a navy silk voile over gown. There is discolouration to the pale underlayers, also some tears, missing stitches and some holes. There is a panel of embroidery fixed to the front, this is backed with card or paper which has become rather softened, it is attached at each corner to the robe. Pair of celadon coloured silk cuffs - these are separate, there is some historic damage and wear, the colour is uneven, hole measureing 2 x 1cm Pair of silk noile bags or pockets with tape closures at the top. Pair of linen socks - these have pink marks ot the bottom possibly from colour marking  Double sided embriodery panel with a central bird beside water under trousers  - some holes, these are held up by a pair of elastic braces which are rather worn. shagreen glasses and case - the glasses are difficult to remove, and the silk loop is only attached at one end.The case shows a little crushing and damage at the inside rim. fan - a few splits in the paper of the fan, this is held together with string at the base, this may not be original hat - is in poor condition boots are in fairly good condition with marks and scuffs consistent with use and age

A Regency giltwood overmantel mirror, the rectangular plate flanked by acanthus wrapped cluster column pilasters with lion mask capitals101 x 90cmplease see photosminor knocks and losses to the extremeties of the framegilt very rubbed in places, especially the bottom section of the frameminor losses to the leaf tips of the top right capitalappears to be missing parts on the frieze either side of the central swag mouldingthe cornice doesnt fully wrap around the sidessee images

A MONUMENTAL ITALIAN LIBRARY GLOBE 20TH CENTURY Of large proportions, the painted body with flags and capital cities, with metal bound equator, on a typical stand 171cm high overall, the sphere approximately 130cm Provenance: Sold in these rooms, Aynhoe Park: The Celebration of A Modern Grand Tour: Day 1 & Day 2, 20th January 2021, Lot 189 (£3,000 excl. BP)

TOLKIEN (J.R.R.), THE LORD OF THE RINGS; 1st edition, 1st impression, THE LORD OF THE RINGS - 1954, THE TWO TOWERS - 1954, THE RETURN OF THE KING - 1955, sagging text to bottom of page 49, folding map to each volume, red cloth with gilt lettering, un-clipped d.j’s., George Allen & Unwin Ltd, (3).Condition Report: Vol 1 – Folding map detached, the glue has dried, and the map is generally ok. The jacket has split down the first fold and almost all the way down the second fold. Chips to the jacket at the top of the spine, shelf wear and some tears to the top of the jacket. Some other splits and wear throughout. Cloth with general edge rubbing and some shadowing to the top and bottom of the spine.Jacket to the Two Towers with chips and losses to the top of the spine and small tears to the bottom of the spine. Wear to the top two corners. The red cloth is brighter on this copy with some shelf wear and one shadow mark to the top of the spine.Return of the King jacket with tear and losses to the top of the spine and wear to the bottom of the spine. Tear to the top edge of jacket into the capital T. Wear to the top two corners. Red cloth with a few light marks, some shelf wear and shadow mark to the top of the spine. Map at end with a small crease to one corner.All jackets with general age wear throughout, some general marks, age toning and some foxing.The interior of all three books with some light foxing here and there, heaviest to the first volume. General toning to the pages also. Ink inscription to the front free end papers to all volumes, each one dated the year of publication.We advise customers to undertake their own inspection before bidding.

A 20th century cherrywood classical style pedestal, with fluted column and carved Corinthian capital, on a square plinth base: h.x 122cm w.x 35 l.x 35cm

20th century green Onyx pedestal square top above brass acanthus leaf capital with fluted brass collar supported on a plinth base Dimensions: Height: 105cm  Length/Width: 25cm 

A composition stone Corinthian capital, 39cm high; together with another composition stone jardiniere, 35.5cm high; and another smaller example. (3)

A FRENCH GILT BRASS CASED MANTLE CLOCK, with Japy Freres gong strike movement, the case with architectural form, having floral swags and capital side columns, H 28 cm

* Greenaway (Kate). A Apple Pie, a collection of 9 colour woodblock prints, circa 1886, 9 colour woodblock prints from A Apple Pie, published by Frederick Warne Ltd, comprising: B bit it; F fought for it; G got it; H had it; L longed for it; P peeped in it; Q quartered it; R ran for it; UVWXYZ all had a large slice and went off to bed, each 18 x 23.5 cm, all mounted in card frames 33 x 38 cm, together with:Kate Greenaway's Alphabet, a collection of 9 colour woodblock prints, circa 1885, 9 colour woodblock prints from Kate Greenaway's Alphabet, comprising: D, H, N, P, T (2 copies), U, W and Y, each showing a child on or around the capital letter, 65 x 55 mm, all mounted in card frames, largest 29.3 x 27.5 cm, one 'T' framed and glazed (37.5 x 35.5 cm), plus:Almanack for 1884, a collection of 6 colour woodblock prints, circa 1884, 6 colour woodblock prints from the 1884 Almanack, comprising: February, July, August (3 copies) and September (1883), each 12.5 x 9 cm, all mounted in card frames, largest 33.5 x 28 cm, and three other prints by G. E. StuddyQTY: (1 box)

* Educational Alphabet Game. The Picture Alphabet for a Good Child, c. 1850, comprising 31 (of 35) engravings mounted on both sides of cardboard discs (51 mm diameter), lacking ‘C’, ‘K’, ‘i, j, k, l’ and ‘m, n, o’, slightly dust-soiled, contained in the original turned wooden cylinder with screw-top lid, the lid bearing a circular coloured title label showing an older woman playing the game with a child and on-looking cat, small chip with loss to one edge, slightly rubbed, the base with a neat, contemporary ink inscription, ‘A Christmas present for Edith Elis[abe]th Crosfield, from her affectionate Mother [Elisebeth], 12th mo[nth] 25th 1850’, 14 cm high QTY: (1)NOTE:Provenance: Collection of Quaker antiquary Martha Spriggs (1777-1866), Worcester, by family descent. Martha and William Spriggs' grandson, Thomas Wakefield Binyon (the third of six children borne by their daughter Martha Ann), married Edith Elizabeth Crosfield (1849-1897) in 1876.The full set of discs include 26 featuring capital letters, each with a hand-coloured engraving of an animal or common object beginning with the appropriate letter to the other side. The remaining 9 discs have lower case letters, numerals and simple sounds printed to both sides in a range of point sizes.Originally published in the 1830s, these discs were likely used to play a game of forfeits or rhyming games, similar to the way in which flashcards are used today. Complete sets are understandably rare, the Yale Center for British Art (PE1155 .P53 1850 Flat) own one, the one at the Victoria & Albert Museum (MISC.110-1963) apparently incomplete. Though lacking 4 discs the condition of those present is surprisingly fresh for what must have been a well-used game, originally given to Edith by her mother when she was one-year old.

* Alphabet. Miniature double-sided bone alphabet letters, late 18th century, comprising 25 (of 26) letters in red on bone, double-sided with capital and lower case letters, S with lower case long s, lacking A, small chip to s counter, w counter a little warped, with additional later blank counter, contained in the original bone cylinder with screw-top lid, the lid bearing red ABC with short green floral pattern above and below, 40 cm high, together with: Alphabet cards. The Scripture Alphabet, [London: R Miller], circa 1820, 24 (of 26) cards, each lettered card with hand-coloured vignette to upper, depicting various biblical scenes including: Tower of Babel, Adam, the creation, Nicodemus, Uriah, etc., four lines of text from bible with bible verse reference below, lacking D and G, some soiling, s and t with horizontal crease, each card 65 x 50 mm, cards loosely contained in a paper wrapper with near contemporary writing in ink 'Given to H. S. Sprigs when a child by Mary Berwick a Catholic lady ? to Sir A Lechmann'QTY: (2)NOTE:Provenance: Collection of Quaker antiquary Martha Spriggs (1777-1866), Worcester, by family descent.

King (Jessie M, illustrator). The Enchanted Capital of Scotland from a story told by a Merchant of Edinburgh, retold in words by Isobel K.C. Steele, Edinburgh: Plaid Stationery of Scotland Ltd, circa 1945, four colour double-page spreads and black & white illustrations throughout, presentation inscription in brown ink to lower margin of frontispiece 'To Morag with greetings from Jessie M. King' bordered by a rabbit and another decorative device, original blue cloth with gilt title, price-clipped dust jacket with a few closed tears repaired with adhesive tape, 4toQTY: (1)

A collection of silver and silver plated items to include: a Victorian silver matchbox holder, of rectangular form, top engraved with capital H under crown, hallmarked by Roberts & Belk, Sheffield, 1893; a sterling silver late 20th century stamp case of revolving book form; a cased set of four sterling silver bridge pencils, each with card suits to tops and engine turned bodies; a pair of American sterling silver and glass coasters, by Frank M Whiting & Co, each approx. 17.5cm diameters, along with a small selection of plated items including two sauceboats, knives, a teaspoon with glass terminal, a novelty cat shaped measure, cased cake forks and with modern playing cards, bridge ephemera etc. (1 bag) Weighable silver approx. 57 grams (1.8ozt) Further details: matchbox holder missing one foot and with dents, wear and tarnish etc; coasters with marks, nicks, scratches and wear, dents to areas; wear commensurate with usage and age to most, tarnish to some and surface scratches.

Imposing Romanesque corner capital sculpted in limestone. 12th century.‘Daniel in the lions‘ den’.Romanesque capital of the type known as angle capitals, which would have formed part of a cloister. 24 x 22 x 20 cm. It depicts a male figure, Daniel, in period costume surrounded by two stylised figures of lions.His eyes are marked with a trepan.Dr. Antonio Olañeta, an expert in this type of medieval iconographic representation of Daniel among the lions, identifies the iconography on this capital as part of the cycle of Daniel among the lions. In the interesting publication referenced at the end of the file, Dr. Olañeta summarises that ‘Some of the examples of portrayals of the condemnation of Daniel to the lions’ den found in certain churches on different routes along the Pilgrim's Way to Santiago are of great interest when analysing the origin and evolution of an iconographic model that presents the prophet seated and with his arms raised. The study of the iconographic characteristics and the programmes in which the capital are inserted, with Daniel of Saint Saturnin of Toulouse in the cloister of the abbey of Moissac, with Our Lady of La Dorada, also in Toulouse, and with Saint Eutropius of Saintes  allows us to reach the conclusion that in them the prophet adopts the gesture of the Triumphant Christ to make his character of foreshadowing clear’.Dr. Olañeta also informs that the Hispano-Visigothic capital (7th century) of San Pedro de la Nave is the earliest one to be found today in which the passage of Daniel in the lions' den is portrayed on a capital, a support that would have been the most typical choice for this theme in the Romanesque period. Other comparable examples of Romanesque capitals with the scene of the prophet Daniel's condemnation to the lions' den are, for example:- Capital of the Ripoll Monastery.- Capital with Daniel in the lions' den in the ambulatory of San Saturnino de Tolosa.- Capital with Daniel in the lions' den in the northern gallery of the cloister of the Abbey of Moissac.- Capital with Daniel in the lions' den of the cloister of the priory of Notre-Dame de la Dorée in Toulouse (Musèe des Augustins, Toulouse). Provenance: Private collection. Spain. Reference bibliography:- Reproduced in ‘La Enciclopedia del Románico en Galicia’ (The Encyclopaedia of the Romanesque in Galicia) vol. dedicated to A Coruña, pages. 394-395. Text by Prof. Gerardo Boto Varela. - Olañeta Molina, J. A. (2016). "Modelos, programas e interpretación de la representación de Daniel en el foso de los leones como imagen alegórica de Cristo Triunfante en algunos hitos de la ruta jacobea". Ad Limina, N.º 7. Santiago de Compostela. 

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Our Lady of Mount Carmel and Queen of the Carmelite Order with Child"Oil on canvas. Signed.104.5 x 78 cm.A beautiful painting of New Spanish art from the delicate, tender, and mystical brush of Miguel Cabrera, who portrays the perfection of porcelain faces and anatomies, garments, movements, realism, and depth like no other, "as if we were present."It depicts the Virgin of Mount Carmel, also known as Star of the Sea, who is also the patroness of sailors, partly due to the proximity of Mount Carmel to the Mediterranean Sea. She is a beacon for ships as she announces safe harbour. She appears dressed as the "almsgiver of Carmel," with a royal crown on her head, holding the Christ Child in her left hand and a scapular in her right hand, a symbol of the yoke of Christ, the yoke that Jesus invites us to bear, but which Mary helps us carry.Miguel Cabrera was one of the most renowned painters in the field of 18th-century New Spanish painting, producing work that the Dallas Museum of Art defines as "legendary: over 309 works have been documented from his large studio."Little is known about his youth; in fact, according to the Andrés Blaisten Museum, it is only through the painter's will in 1768 that we know he was a native of Oaxaca.His first known records are from 1739, the year of his marriage to Ana María Solano, as well as his time in Juan Correa's workshop in the capital of the Viceroyalty.Archbishop Rubio Salinas was a protector of Cabrera, whom he appointed as his court painter. He was also a painter for the Society of Jesus, for whose churches he created numerous works.In 1753, he was appointed lifelong president of the San Carlos Academy.In 1756, Cabrera published "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura" (American Marvels and a Collection of Rare Marvels Observed Following the Rules of the Art of Painting), a narration about the image of the Virgin Guadalupe printed at the press of the Jesuit college of San Ildefonso.His works are preserved in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are housed in the Vatican Museum. Another, created in 1756 for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Dallas Museum of Art houses a Santa Gertrudis La Magna by Miguel Cabrera, and another representation of the saint, also by Cabrera and dated 1768, is part of the collection at the José Luis Bello y Zetina Museum in Puebla, Mexico.Likewise, we should highlight an important series of Casta paintings from 1763, kept in the collection at the Museum of the Americas in Madrid. They depict families, father, mother, and child from various castes and social strata, in situations of everyday life.Reference Bibliography:- This painting was part of the exhibition “De Claris Mvlieribvs. Santas, mártires, sabias...”, which took place in 2024 at the Convent of San Juan de la Cruz, in Alba de Tormes, Salamanca, and is reproduced on page 210 - 211 of the catalog.- Dallas Museum of Art. (s.f.). "Saint Gertrude (Santa Gertrudis)". (2006.37). Https://collections.dma.org/artwork/5328501- Museo Andrés Blaisten. (s.f.). https://museoblaisten.com/Artista/79/Miguel-Cabrera

A late 19th Century attractive oval giltwood Mirror, decorated in the Adams taste with urn capital issuing floral scrolls, with beaded and egg n' dart border and inset beveled mirror and conforming base, approx. 99cms x 94cms (39" x 37"). (1)

A fine quality set of 12 Victorian carved oak Dining Chairs, each with carved carrying capital depicting floral garland, above red leather covered backs, and seats, with brass studs on front reeded tapering legs united by conforming stretchers with castors. (12)

A 19th Century Dutch marquetry Side Chair, with open splat back profusely decorated with inlay depicting flowers, leaves and birds, above shaped drop in seat with conforming decorated frieze on front shell capped ball n' claw feet; together with an 18th Century carved Side Chair, the shaped splat back with carved capital above upholstered drop in seat on front shell capped carved ball n' claw feet. (2)

[John Newton interest] The Holy Bible, containing the Old Testament and New Cambridge: printed by John Archdeacon, and sold by John Beechcroft [and others], 1773. 8vo (19.5 x 13.2cm), unpaginated, collates A-3C8 3D2 3E-3T8 3U2 (-3U2, final leaf of Revelation, absent), inscribed ‘Revd J Newton St Mary Woolnoth’ to the general title-page, the final page of the Old Testament, and title-page of the New Testament, with a further example of the same inscription on the first page of the New Testament shaved by the binder, the general title-page additionally inscribed ‘Pulpit Bible’ at head and ‘Let him that stole steal no more’, possibly in the same hand as the previous inscriptions, additional annotation to 2H2 (Job 40:4), several ink markings highlighting certain passages (perhaps 10 in total).  Binding and condition: 19th-century diced calf, front board detached, rear board just remaining attached to spine but spine detached from textblock, contents toned, intermittent spotting and browning to margins, occasionally extending into a text, a few ink-stains and other blemishes, side-notes often shaved, lacking T6-8 (part of II Samuel) and 3U2 (q.v.), final extant leaf 3U2 misbound A fascinating relic of one of the most important figures in the history of modern Christian spirituality, bearing the putative ownership inscriptions of John Newton (1725-1807), the reformed slave trader turned evangelical Church of England clergyman and leading light in the abolition movement, remembered today as the author of ‘Amazing Grace’, one of the most widely recognised and performed pieces of music ever written. The forms of the capital letters ‘J’ and 'N' in the inscriptions are characteristic of John Newton's autograph, though there is less resemblance in the overall ductus and the lower-case letterforms. It can be imagined that the inscriptions were made by an admiring contemporary or parishioner of Newton's familiar with his hand. ‘In January 1780 Newton accepted the offer from John Thornton of the benefice of St Mary Woolnoth with St Mary Woolchurch, Lombard Street, London. The living was worth just over £260 a year and the church itself had been built by Nicholas Hawksmoor, in 1727, in a fashionable, baroque style. This was an important city living at a time when William Romaine was the only other evangelical incumbent in London … Unlike his extensive parish ministry at Olney, St Mary Woolnoth was for Newton chiefly a pulpit since the church looked out on a highly mobile, cosmopolitan population with little parochial identity … Throughout his ministry in London people came from afar to hear him, and his congregations were large … Increasingly Newton gained the status of a patriarch within the emerging evangelical party, and his home was regularly crowded with younger ministers eager to glean wisdom from him’ (ODNB).

Alcock (Rutherford). The Capital of the Tycoon: A Narrative of a Three Years' Residence in Japan, 2 volumes, 1st edition, London: Longman, Green, Longman, Roberts & Green, 1863, half-titles, 16 colour lithograph plates, 2 folding maps, woodcut illustrations, modern bookplate of Cliff Parfitt to verso of front free endpapers (with ownership stamps to verso of title and lower edge), occasional spotting, top edge gilt, modern red full morocco gilt by Period Binders, Bath, 8voQTY: (2)NOTE:Provenance: Cliff Parfitt, author of A Study of Japanese Bookplates, 1982.

Taylor (John, The Water Poet). Mercurius Aquaticus; Or, the Water-Poets Answer to all that hath or shall be Writ by Mercurius Britanicus, [Oxford, by L. Lichfield], Printed in the Waine of the Moone, 1643, light waterstain to outer margins, final blank with closed tear repaired, [Wing T481; Madan 1510], bound with [Greaves (Edward)] Morbus Epidemius Anni 1643. Or, the New Disease With the Signes, Causes, Remedies. &c., [Wing G1792; Madan 1502], Oxford, Leonard Lichfield, 1643 bound with [Womock (Laurence)] Sober Sadnes: Or Historicall Observations upon The Proceedings, Presences, & Designs of a prevailing party in both Houses of Parliament, [Wing ?3352A; Madan 1293], [?London], W. Webb, 1643, bound with Digby (George, Earl of Bristol) The Lord George Digbies Apologie for Himselfe, [Wing B4761; Madan 1161], [Oxford], 1642, bound with Articles of Accusation, Exhibited By the Commons House Against Sr. John Bramston Sr. Robert Berkly, blank f. at end, [Wing E2522], 1641, bound with Grounds and Motives (The) Inducing His Majesty To Agree To A Cessation of Armes for One whole Yeare, with the Roman Catholiques of Ireland, title within woodcut border, [Wing G2134; Madan 1475], Oxford, Leonard Lichfield, 1643, bound with Anderson (Francis) The Copy of a Letter from Colonel Francis Anderson To Sir Thomas Glenham touching the Invasion of Scotland, title within woodcut border, lacks last leaf (blank), B1 loose, [Wing A3087; Madan 1528], Leonard Lichfield, 1643, bound with Discourse (A) Discovering some Mysteries of our New State and Remembring Some Fatall Daies on both Parties, The Loyall and the Rebell Betwixt A Protestant, a Puritan, and a Papist Shewing, The Rise and Progresse of Englands Unhappinesse, Oxford, Leonard Lichfield, 1645, title within woodcut border, title creased and ink-stained, last leaf ink-stained, [Wing D1592; Madan 1816], bound with Articles (The) of Exeter, woodcut vignette crown on title, last leaf blank, title soiled in corner, [Wing A3839], John Williams, 1647, bound with Oldenbarneveld (Jan van) Barnevelt displayed: Or the Golden Legend of New St John; found out in the United Provinces of the Low-Countries, [STC 18801], Nathaniel Butter, 1619, bound with A Declaration of the True Causes which moved His Majestie to assemble, and after inforced Him to dissolve the two last Meetings in Parliament, [STC 9246], by Bonham Norton, and John Bill, 1626; together 14 pamphlets in one volume, bound in varying order, with contemporary manuscript list of contents to verso of front blank (and ink ownership signatures to recto of the same blank leaf “H. Price Bot. at Bodleio ye Novr 1751” & “John Price”), the first pamphlet (David Jenkins, Lex Terra) defective, some damp-staining to outer margins, very slightly affecting a few titles, occasional light browning, contemporary vellum, titled in manuscript to spine, some marks and damp-stained on upper cover, small 4toQTY: (1)NOTE:A collection of scarce civil war pamphlets, some printed in Oxford during its time as Charles I's capital. The first mentioned item, Taylor's Mercurius Aquaticus, according to Madan, “one of Taylor's madcap effusions against Mercurius Britannicus”, the parliamentary newspaper. “The whole of no. 16 of the Britannicus (Dec. 7-14, 1643) is reprinted, including ’An Elegie on Master Pym' and then the writer half parodies, half satirizes it, piece by piece.” (Madan) Taylor, a lifelong royalist, was patronised by both James I and Charles I and followed the king to Oxford, “where,” says Wood, “he was much esteemed by the court and poor remnant of scholars for his facetious company”. The second mentioned item, Greaves' Morbus Epidemius, called by Wood a “morbus campestris”, refers to a disease that swept through Oxford as a direct result of the overcrowding caused by the king, his court and his armies being quartered on Oxford. “It is a serious and learned discourse, discussing the means of avoiding the disease as well as of treating it. It was a fever accompanied by a rash and great prostration, like a bad type of influenza. Recipes are given, both for poor and rich, and the older physicians, Galen, &c. are freely quoted.” (Madan). The second signature at the front of the volume, John Price, is possibly Bodley's Librarian (1734-1813).

Earlom (Richard). Liber Veritatis, or, a Collection of Two Hundred Prints after the original designs of Claude Le Lorrain, in the collection of His Grace the Duke of Devonshire, executed by Richard Earlom..., volumes 1 & 2 only, London: John Boydell, 1777, printed title page and index to both volumes, volume 1 with a dedication to the Duke of Devonshire and a mezzotint portrait of Claude Le Lorrain, 2 leaves on the 'Life of Claude Lorrain' and an advertisement, 200 mezzotints on laid paper, printed in sepia and black, slight spotting and staining, bookplate of Sir Edmund Antrobus to front pastedowns, contemporary speckled calf with gilt decorated spines, boards detached, folio, binding size 430 x 280 mmQTY: (2)NOTE:Provenance: Sir Edmund Antrobus, second Baronet (1792-1870).Abbey, Life in England, 200. The third volume was not published until 1819."This capital work, a landmark in the history of the reproduction of master drawings, is ... an important forerunner of later publications in this section. It contains 300 reproductions of drawings by Claude Lorrain, pastoral, mythological, and biblical subjects, and was called Liber Veritatis [Book of Truth] for the purpose of identifying Claude's genuine works from forgeries, or from drawings wrongly attributed to the master. They are all printed in a warm bistre colour to aid the resemblance..., This is the first complete edition with the engravings in the best and final state..., The catalogues in each volume give a comprehensive description of each drawing, indicating also for whom they were executed, which pictures were painted from them, and the ownership at the date of publication of the book—in short, a real catalogue raisonné" (Abbey).

H.R.H. The Duke of Windsor (formerly King Edward VIII): A pair of Royal presentation cufflinks by Cartier, circa 1940, double-sided, one oval panel engraved with conjoined initials ‘WE’ for Wallis and Edward beneath a coronet, the other engraved with crowned ‘E’ cypher within Garter, with chain connectors, accompanied by a photograph of The Duke of Windsor and Wallis, Duchess of Windsor, signed in ink ‘Wallis Windsor’, ‘Nassau 1941’ and ‘Edward’, framed, cufflinks signed ‘CARTIER’, stamped ‘14K’, cased by Collingwood, photograph with embossed stamp for ‘Turgeon, Paramount Building, Palm Beach, Florida’, mount signed in pencil ‘Frank Turgeon’, cufflink panel length 18.1mm, frame dimensions 51 x 38cm. £2,000-£3,000 --- Provenance: Formerly the property of Mr Robert Walter Taylor CMG CBE. Thence by family descent. Robert Walter Taylor was born in 1883 and worked for the Treasury in various overseas territories for the majority of his career. In 1919, whilst working as Treasurer in Somaliland, he received an OBE (promoted 1928) for ‘services as Chief Cable Censor and in connection with recruiting.’ The following year he became Treasurer in Tanganyika and remained in this position until 1933, having married his wife, Irene, in 1930. In 1933 he was appointed to the Order of St Michael and St George, recognising ‘prominent and highly distinguished contributions overseas and in international affairs.’ Between 1936 and 1942 he was Receiver General and Treasurer to the Bahamas and it was during this period that he became acquainted with the Duke and Duchess of Windsor. In August 1940 the Duke and Duchess of Windsor arrived in Nassau, the capital of the Bahamas, following the Duke’s appointment to Governor of the Bahamas. Winston Churchill, with agreement from the royal family, had installed the couple there amidst growing concerns for their possible Nazi sympathies. Some initial resistance to the appointment related somewhat to the Duke’s inexperience and was a problem compounded by the fact that the majority of his most senior officials were also new to the colony. Robert Taylor, however, known to be a ‘jolly, experienced man’, played a reassuring role in the continuity of administration during this transition. Having been been appointed four years earlier during the reign of Edward VIII, he was able to enlighten the Duke as to what lay in store for him. The two worked closely together until 1942 when Taylor was appointed Financial Secretary of Jamaica. The signed photograph and cufflinks included in this lot were gifts from the Duke and Duchess of Windsor to Robert Taylor during this time. The Duke and Duchess remained in the Bahamas for the duration of the war. Robert Taylor returned to the islands as Controller of Exchange from 1947 until his retirement in 1956. He died in 1972. Literature: Bloch, M., The Duke of Windsor's War, Little, Brown Book Group, 2012. Ziegler, P., King Edward VIII, Random House Publishing Group, 1992.

The Warner ‘Gresham Grasshopper’ Seal Ring An important 16th century gold signet ring, circa 1560-1575, the oval crystal bezel intaglio carved with the coat of arms of Warner, with tinted foil behind to colour: Or a chevron between three boars’ heads couped sable, in a closed gold mount with tapered shoulders, the underside of the bezel engraved with a grasshopper in green enamel, weight 14.8gm, ring size Q. £10,000-£15,000 --- Provenance: This, until now unrecorded ring, is one of a series of ‘Gresham Grasshopper’ seal rings, gifted by the great Tudor financier Sir Thomas Gresham between the years 1560-1575. This ring was inherited through a private family from the 19th century, thence by descent, until circa 2010. Sir Thomas Gresham (1519-1579) The Gresham family were an old Norfolk family, merchants and financiers by trade. Sir John Gresham (1495-1556) worked for Henry VIII, Cardinal Wolsey and Thomas Cromwell. The young Thomas Gresham, following in his family’s footsteps, served his apprenticeship as a merchant under his uncle Sir John Gresham, dealing principally in woollen cloth and other luxury textiles such as silks and velvets. However his true talents lay elsewhere, like his father Sir Richard Gresham, in making deals in foreign exchange and arranging finance. His father “taught him some of the secrets of exchange dealing in Lombard Street and Antwerp” (Guy, J., p.13). By the 1530s Thomas began working and training within the family business, by this time the Gresham family firm were the largest shippers trading out of London. In 1543, at the age of just 24, Thomas was, again following family tradition, admitted as a liveryman of the Mercers’ Company, leaving England later that year to pursue business in the Low Countries. Quickly earning respect for his adept and skilful play of the financial markets, his trade took him regularly to Antwerp, the principal trading port for cloth in the European markets, and by the 15th century the “commercial capital of Northern Europe” (Guy. J., p.19). Here he began to undertake financial arrangements on behalf of Henry VIII, including smuggling over £30,000 of gold and silver coins into Bologne to pay the king’s mercenaries based in Antwerp. A shrewd and astute businessman, Thomas Gresham skilfully kept out of the religious fever sweeping back and forth across 16th century Europe and this determined neutrality allowed him to maintain his role as financial agent to the Crown, not only to Henry VIII, but Edward IV, Mary and finally Elizabeth I, negotiating foreign and domestic loans, advising on financial matters, and manipulating the exchange rates to allow him to restructure and reduce the crown debt. Under Elizabeth he was also appointed as ambassador to the Court of Margaret of Parma, Governor of Netherlands. In 1565 Thomas Gresham agreed to finance and oversee the construction of the Royal Exchange, largely modelled on the Antwerp Bourse, on a site between Lombard Street and Cornhill, a grand and appropriate venue for him and his fellow merchants to conduct their business. After his death in 1579, in his will Thomas Gresham left the Royal Exchange in trust, to be split between the Corporation of London and the Mercers’ Company but both parties being thereafter required to fund Gresham College, the first institution of higher education in London. Mark Warner (d.1583/1584) This ring bears the arms of the family of Warner. A potential candidate for these arms was Sir Edward Warner (1511-1565) of Polstead Hall and Little Plumstead in the County of Norfolk, but as Sir Edward bore for his arms: ‘Per bend indented sable and argent’, this cannot be the case. It is therefore believed that this ring belonged to Mark Warner, of All Hallows, Lombard Street. (Ref: Beacon Genealogical and Heraldic Research). Mark Warner is recorded as a cloth merchant and a member of the parish of All Hallows, Lombard Street, in the City of London. He was twice married at the church, first to Elizabeth Farthing in 1554 and then Judith Grymson in 1579, and was buried there in January 1583/4. His will (National Archives ref: PROB 11/66/333) lists two daughters, Cicelye and Elizabeth, and a son, John. The Warner family owned property at Stroud Green in Middlesex but had long been associated with Lombard Street. Mark’s grandfather John and his father Richard both contributed to the building of All Hallows church. Mark Warner was a member of the Worshipful Company of Drapers, being apprenticed in 1543 and called to the livery in 1552. By 1554 he had become a freeman, in this year he took his first apprentice, William Bocher, followed by a second apprentice James Cranfyld, prior to 1558. Like Gresham, Warner was not just involved in the cloth trade but also in finance. His name is included in a list of known insurers in London, in business between 1559-1573. (National Archives ref: HCA 24/39). At this time, high risks were associated with the safe passage of goods by sea. Marine insurance was provided by ‘Lombard Street’ custom (although not yet legislated for). Collectively groups of merchants based around Lombard Street would each loan against part of the cargo of a ship, the loan being dismissed if the vessel floundered, thus insuring the vessel and spreading the risk of overseas trade amongst the merchant community. When, in 1575, the Chamber of Assurances was set up to register insurance contacts, it was Gresham’s long time agent Richard Chandler who was given the position and an office inside the Royal Exchange. The quantity and value of overseas deals negotiated by Gresham must surely have necessitated elaborate insurance deals. Both being cloth merchants, involved in finance and insurance, and both residing and working in Lombard Street, Warner and Gresham’s paths would undoubtedly have crossed. The Grasshopper Rings This form of signet ring, with an intaglio carved rock crystal bezel, foiled behind to tint the colours of the coat of arms (allowing impressions to be taken without exposing the colours to hot wax), first appeared in Germany in the early 16th century (Princely Magnificence, cat no. 4 and 7). By the second half of the 16th century this style of ring had made its way to England where it became “the status symbol ‘par excellence’”. (D. Scarisbrick, 1993, p.48). Through the third quarter of the 16th century Thomas Gresham gifted a series of these rings to acquaintances/business associates, each with a foiled crystal bezel displaying their coat of arms, with an enamelled grasshopper to the underside of the bezel. The grasshopper was the family crest of the Gresham family, probably derived from their Norman ancestry, being descended from the De Gresses. After becoming citizens of England, the French prefix ‘DE;’ was dropped, and to distinguish them as landowners, the word ‘HAM may have been added, and under this modified name, the family coat of arms granted prior to 1460. The Gresham family coat of arms are: ‘Argent a chevron ermine between three mullets pierced sable’, with a crest: ‘On a mound a grasshopper vert’. These arms are recorded in the Heralds Visitations for the County of Norfolk, 1563 and for the City of London, 1568; these pedigrees indicate the arms were granted to John Gresham (died 1460), the 2x great grandfather of Thomas. Nine such ‘Gresham grasshopper’ rings are recorded. The Warner ring, until now undiscovered, brings this total to ten. The recorded examples are: The Sir William Fleetwood ring, in the British ...

ALCOCK JOHN: (1892-1919) English pilot, a Captain with the Royal Naval Air Service and Royal Air Force who, with navigator Arthur Whitten Brown, completed the first successful non-stop transatlantic flight, June 1919. An extremely rare A.L.S., Jack, four pages, 8vo, Kedos, Turkey, 6th November 1917, to Captain S. H. Gaskell ('Dear Old Gaskell') in bold pencil on feint ruled bifolium stationery. Alcock writes from the Turkish Prisoner of War camp where he was being held and remarks ´Well my boy I have fairly fell into it this time & I suppose you have heard all what happened´, continuing ´Was well on the way to a good target, everything going well when without warning my port reduction bursted (sic) or something making a hell of a row, and the prop flew completely off.....the engine raced up like anything and was still doing about 1500 with throttle......if the patrol had been in position we should have been picked up and having a good time with the boys. The old bus stood my priceless landing in the sea. I don´t think I broke anything except the centre section.....I think Aird & I were 20 feet or more under water for it seemed ages before we came up to the top......After this we sat on the bus for over two hours....then we were in the water well over an hour swimming to the peninsular where we spent the night and were captured next day. The bus I think sank, for when we left her she was sinking fast, when we got ashore she was drifting away from our sight´. Alcock also reports ´Up till now we have met none of our people but several R.F.C. pliots´ and asks ´Did you hear of my success on the morning I was lost?, further referring to an aircraft that was nearly completed when he had left, ´If anything is a bit wrong I don´t think she will get a chance....If you can will you have a look round & do your best, but let me know the result´. Autograph letters of Alcock are extremely rare owing to his tragically early death at the age of 27 following an air crash. Some light, minimal age wear, and a few creases and small tears to the edges, GOn 30th September 1917 Alcock was piloting a Handley Page bomber on a raid against the Turkish capital Constantinople, when one engine failed. The aircraft managed to limp on for more than 100 kilometres before the other engine quit and it had to be ditched in the sea near Suvla Bay. Alcock and his two crew members swam for about an hour to reach the Ottoman army-held shore, only to be promptly captured. This ended Alcock’s participation in World War I and he spent the next fourteen months as a prisoner of war in Turkey. He was finally released on the Armistice of 11th November 1918.Alcock was awarded the Distinguished Service Cross 'For the great skill, judgment and dash displayed by him off Moudros.....in a successful attack on three enemy seaplanes, two of which were brought down in the sea', which had occurred earlier on the same fateful day of 30th September 1917.

NAPOLEON I: (1769-1821) Emperor of France 1804-14, 1815. An excellent content letter, L.S., `Nap´, one page, gilt edges, 4to, Warsaw, 14th January 1807, to Marshal Lannes, in French. The Emperor is in Warsaw where he will spend the month of January, after having taken the Polish capital two months earlier, and where he will meet for the first time Maria Walewska. Napoleon reports to Marshal Lannes on the official fake war report published initially by the Russians and with a touch of mockery explains what was their reaction when they learned about the real outcome of the battle, stating `Je vous envoye une relation du combat de Pultusk faite par les Russes. Elle a causé la plus vive joie à Konigsberg, mais lorsque la vérité a été connue, la consternation a été d´autant plus grande.´ (Translation: "I am sending you a report of the battle of Pultusk, made by the Russians. It caused the greatest joy in Konigsberg, but when the truth became known, the consternation was all the greater...") With blank integral leaf. Very smallmninor creasing, otherwise G to VGIt was on 1st of January 1807, on his arrival to Poland, two weeks before the present letter was written, that Napoleon met for the first time Maria Walewska. Two weeks later and only four days after the present letter was written that he invited Maria Walewska to join him on the following days becoming from then on her mistress.The Battle of Pułtusk, in Poland, took place on 26th December 1806 during the war of the Fourth Coalition. Napoleon had ordered multiple of his main military Corps to pursue the Russians to Pultusk, including different corps under Marshals Murat, Davout, Augereau, Ney, Bernadotte, Bessieres, Soult and Lannes. Despite their strong numerical superiority and artillery, the Russians suffered the French attacks, before retiring the next day and after having suffered greater losses than the French. Marshal Lannes had orders to cross the Narew at Pułtusk with his corps. He was aware that there was a Russian force in front of him, but did not know its size. After struggling through the mud, his first troops reached the area and drove the cossacks back onto the Russian main line. Because of the terrain, Lannes could only see the Russian advance positions on the extreme left and right with the cavalry between them. Lannes was in a very difficult position with a much inferior number of soldiers than the Russians. Meanwhile the 3rd Division of Davout's 3rd Corps, temporarily commanded by his Chief of Staff Fournier, had been ordered to pursue a Russian column apparently retiring on Pułtusk. Concerned about the strength of the Russian cavalry force which was escorting guns and stores, Fournier was preparing to stop for the night when he heard the sounds of combat to his right, and so marched his men towards Pułtusk. Lannes was following his orders, and the result was to find himself facing a superior force in a good defensive position. Napoleon's orders had not allowed for this, and unaware of the odds against him, Lannes attacked. If Fournier had not used his initiative and marched to the sound of the guns, the result may have been very different.Konigsberg is the historic Prussian name of the Russian city of Kaliningrad.

NAPOLEON II: (1811-1832) Prince Imperial, King of Rome and Prince of Parma 1811-32, Duke of Reichstadt. Son of Napoleon I and his second wife, Marie Louise of Austria. A.L.S., with multiple signatures in his hand, two pages, 4to, n.p. [Vienna], n.d. [January 1822?], to a General, in French. An extremely rare draft letter manuscript, with multiple draft signatures, most in German, where Napoleon II makes multiple tests on what is his title as `Duke of Reichstadt´. Napoleon tests multiple signatures, including few capital "R", "Reichstadt" and four "Reichstadt" in German, also signing `Franz´ and `Herzog Reichs´ ("Duke of the Empire"), with multiple different flourishes. In a bold elegant hand Napoleon has written a two pages polite letter to a General, with seven lines crossed, stating in part `Le retour du nouvel an m´engage à vous participer les sentiments que j´éprouve. C´est une époque heureuse pour les familles et pour l´amitié, elle en ressert les liens, et rapproche même les individus que des intérêts particuliers avaient brouillés... Les rapports qui existent entre nous n´ont jamais été sujets à aucune contradiction, parce que l´amitié qui nous unit repose sur des bases solides et désintéréssées et qui sont à l´épreuve de tous les évènements qui pourraient agir contrairement à nos divers intérêts...´ (Translation: "The return of the New Year urges me to share with you the feelings I feel. It is a happy time for families and for friendship, it strengthens the bonds, and even brings together individuals who had been estranged by particular interests... The relations that exist between us has never been subject to any contradiction, because the friendship that unites us rests on solid and disinterested foundations and which are proof against all events that could act contrary to our various interests.") Very slightly uneven edges, and very small minor creasing, otherwise G to VG

LAFAYETTE GILBERT DU MOTIER: (1757-1834) Marquis de La Fayette. French Aristocrat and Military Officer. Close to George Washington and Thomas Jefferson, La Fayette fought in the American Revolutionary War. He later became a key figure in the French Revolution of 1789 and the July Revolution of 1830. An excellent and lengthy A.L.S., `Lafayette´, two pages, 4to, Lagrange, 23rd July 1827, to Monsieur le Capitaine Baudin in Paris, in French. La Fayette lengthly reports on the establishment of the merino sheep in the country and the development of manufacturing, stating in part `...arrivé au moment même que nous recevions L’Histoire de la Garde nationale où M. Comte rend justice à sa belle conduite dans l’affaire de mes deux collègues. Il a fait visiter ses fermes à Mde de Corcelles et sa famille ; Nous avons parlé de manufactures et je voudrai bien qu’à Nozay, notre chef lieu de canton, il put nous aider à l’établissement d’un petit foïer d’industrie. Je ne pense pas que ce soit un point convenable pour traiter les laines longues d’Angleterre, attendu que tout le païs est couvert de troupeaux mérinos... Moi-même qui soigne un millier de bêtes à laine superfine, je craindrais le croisement avec une race dont pourtant je reconnais le mérite...´ (Translation: "...arrived at the very moment we were receiving The History of the National Guard, where Mr. Comte gives credit for his fine conduct in the matter of my two colleagues. He showed his farms to Madame de Corcelles and her family; We talked about manufacturing, and I would like him to be able to help us establish a small industrial center in Nozay, our cantonal capital. I do not think that this is a suitable place to process long wool from England, since the whole country is covered with merino flocks... I myself, who look after a thousand superfine wool animals, would fear crossbreeding with a breed whose merit I nevertheless recognize...") Lafayette further thanks Captain Baudin for his congratulations for his election in the country, stating in part `’Après avoir souhaitté de ne pas être condamné aux travaux de cette Chambre, j’avoue que les nouvelles bontés de mes commettants, les obstacles qu’ils ont vaincus et le prix que nos adversaires mettaient à leur défaite, m’ont réconcilié avec ma nomination...´ (Translation: "After having hoped not to be condemned to the work of this Chamber, I admit that the new kindnesses of my constituents, the obstacles they have overcome and the price that our adversaries set to their defeat, have reconciled me with my nomination...") With address leaf bearing postmarks and a paper seal. G to VG

WEDGWOOD JOSIAH: (1730-1795) English potter, entrepreneur and prominent slavery abolitionist. A rare L.S., Josiah Wedgwood, Chairman (of the General Chamber of Manufacturers of Great Britain), one page, folio, Great George Street (London), 6th June 1785, to James Hebden. Wedgwood writes, in full, ´I take the liberty of inclosing a copy of the Reolutions printed so as to shew what is omitted of the original ten Resolutions, and what has been added to them, & how they now stand in the House of Lords. From the first days debate in the house of Lords upon these Resolutions we may, according to appearances, promise ourselves a more impartial hearing than we have hitherto met with; and that their L[ordshi]ps will if applied to, modify some of the resolutions, which certainly bear too hard at present upon the British manufacturer. Indeed it is too evident, that whatever may be the object wished for by government in this treaty, the manufacturing interest is to be the sacrifice and price for that object. The committee will be glad to know if you wish them to continue their communications to you upon any future occasions. They will be glad to receive your instructions in this respect, as they would avoid being either troublesome or expensive where their correspondence may not be acceptable´. Accompanied by the (now detached) address leaf, incorporating a postscript to the verso by Wedgwood, and signed by him in the third person, ´Be so good to present this to Mr. Clapham with Mr. Wedgwood´s compliments´, and also dated at Great George Street, 6th June 1785, in his hand. The address panel to the recto appears to be in the hand of William Eden, 1st Baron Auckland, and signed (´Free, Wm. Eden´) by him to the lower left corner of the panel. Some light age wear and minor staining, most evident to the address leaf which also has a small area of paper loss caused by the original breaking of the seal. About VGIn January 1785 Thomas Walker, a cotton merchant and political radical, and one of his associates were brought before the Committee on Trade and Foreign Plantations and questioned concerning Irish relations, in an effort to secure from them, without their knowledge of the object of the questioning, statements which would commit them to the policy later presented to the public in the form of the Irish Resolutions. Walker and his associate were later repeatedly confronted with quotations from their statements, and cross-examined, and treated in a manner which was characterised by a member of parliament as ´most scandalous´. By such methods the government defeated its own ends with respect to the Irish Resolutions as well as the cotton tax. Manchester manufacturers were needlessly embittered, and were forced to associate the government´s fiscal policy at home with its commercial policy toward Ireland. The Irish question, ever a thorn in the side, was rendered acutely piercing in the case of William Pitt´s government (1783-85). Pitt, recognising Ireland´s newly acquired legislative independence, was at once confronted with the problem of economic reorganisation. His policy, formulated in the so-called Irish Resolutions or Propositions, came from the Irish parliament for consideration in the English House of Commons in February 1785. According to Pitt´s own interpretation, his policy embraced two ´capital points´, namely, the admission of Ireland to participation in England´s colonial and foreign trade (with certain restrictions) and the mutual reduction of tariffs on manufactured goods to the rate in that kingdom where existing duties were the lower. The Irish Resolutions, like the cotton tax, encountered the fierce hostility of the newer manufacturers. Pitt himself, in his private letter of 6th January 1785, to the Duke of Rutland, Lord Lieutenant of Ireland, quite frankly admitted the probability of the shifting to Ireland of certain English industries in consequence of the Resolutions. The most important of the various arguments urged against the Irish Resolutions by the manufacturers was the contrast in the tax policies of the two kingdoms. Pitt himself admitted the force of the argument, first in private, and at length in consenting to the modification of the cotton tax. The vital connection between the Irish Resolutions and the question of taxation, particularly the excise laws, was set forth in the resolutions of Manchester manufacturers on 11th April 1785. Out of this situation, which gave to the manufacturers a feeling of common interest, arose the General Chamber of Manufacturers of Great Britain. This organisation was not limited to the new capitalistic manufacturers, but the initiative and the moving force were with them. The new capitalistic industries consisted in the main of three groups: Wedgwood´s Staffordshire potteries; the iron foundries and plants about Birmingham; and the manufacturing and printing of cotton centering at Manchester. The part played by Josiah Wedgwood seems to have been the result of his hostility to the Irish Resolutions. On 21st February 1785, he wrote to Matthew Boulton, saying that he intended to recommend the organisation of ´a Committee of Delegates from all the manufacturing places of England and Scotland to meet and sit in London all the time the Irish commercial affairs are pending´ and he was not without hope that such a body would be useful ´upon others as well as the present occasion´. Results were soon manifest. On 12th March, it was reported that ´manufacturers are assembling´ at London from various parts of the kingdom. A meeting had already been held in London, at the London Tavern, on 7th March. During the succeeding week, a committee was appointed, with Wedgwood as chairman. On 12th March this committee met and issued a call for another general meeting for 14th March. At the meeting convened on the 14th, there was organised a definite body to be called the Chamber of Manufacturers of Great Britain, and to consist of ´each member of a commercial committee, being a manufacturer´. It was resolved unanimously that the society ´do not cease with the present business´. At the various meetings of the Chamber, the chairmanship was held by different men. The chairman of the meeting of 14th March was Wedgwood, who, though not a member of the aristocracy, was nevertheless invested with a respectability denied to the more ´vulgar´ and less artistic textile manufacturers. The committee recommended that the Chamber promote, by means of circular letters and in other ways, the organisation of local bodies of manufacturers, whose common interests should find expression in the central body. To distinguish the local chambers from the national organisation, it was recommended that the word ´general´ be prefixed to the title of the Chamber (extracts from The Rise of the Great Manufacturers in England 1760-1790 by Witt Bowden, 1919).Provenance: Formerly part of the collection of Ray Rawlins, author of The Guinness Book of World Autographs (1977) and bearing his small circular Collection label neatly affixed to the lower corner of the address leaf. Indeed, the signature on the present letter was used as a facsimile in The Guinness Book of World Autographs. The letter was also offered by Sotheby´s in their sale of the Rawlins Collection on 2nd, 3rd & 4th June 1980 (lot 873)OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.

CHARLES X: (1757-1836) King of France 1824-30. Brief A.L.S., Charles Philippe, one page, 4to, Paris, 1st May n.y. (1814), to an unidentified correspondent, in French. The King states, in full, `The King´s entry into Paris is positively fixed for next Tuesday at ten in the morning.´ With blank integral leaf. Some very light, minor wrinkling to the right edge and light overall age toning, otherwise VG The present letter is written at an important date in the Bourbon Restoration. In January 1814, Charles covertly left his home in London to join the Coalition forces in southern France. His brother Louis XVIII, by then wheelchair-bound and in exile in England, supplied Charles, his younger brother, with letters patent creating him Lieutenant General of the kingdom. On 31st March, the Allies captured Paris and a few days later, on 4th April, Napoleon I abdicated. The Senate declared King Louis XVIII restored. Charles had arrived in the capital on 12th April and acted as Lieutenant General of the kingdom until Louis XVIII arrived from England. Two days after the present letter was written, on 3rd May, the King was greeted with great rejoicing from the Parisians and proceeded to occupy the Tuileries Palace. Charles X, known as the Count of Artois for much of his life, reigned as the last Bourbon King of France from 1824-30. An uncle of the uncrowned King Louis XVII and the younger brother of reigning Kings Louis XVI and Louis XVIII, Charles supported the latter in exile and eventually succeeded him. During his brief tenure as regent, Charles created an ultra-royalist secret police that reported directly back to him without Louis XVIII's knowledge. It operated for over five years. His rule of almost six years ended in the July Revolution of 1830, which resulted in his abdication and the election of Louis Philippe, Duke of Orleans, as King of the French.

GLIERE REINHOLD (1875-1956) Russian and Soviet Composer of German and Polish descent. He was awarded the title of People´s Artist of USSR in 1938. A multiple signed T.L.S., by various members of the Union of Soviet Composers of the USSR, one page, 4to, Moscow, 21st November 1942, to the People´s Commissar of Foreign trade affairs, in Cyrillic. The partially printed document bears to the heading in capital Cyrillic and Latin letters "Union of Soviet Composers USSR", with their association address in Moscow, 47 - Miusskaya. A request signed by various composers during one of the worst periods of WWII, comprising Reinhold Gliere; Viktor Bely (1904-1983) Soviet Composer and social Activist. Awarded in 1952 with the Stalin Prize; Vano Muradeli (1908-1070) Soviet Georgian Composer. Awarded in 1948 with the Stalin Prize; also signed by Anastas Ivanovich Mikoyan (1895-1978) Soviet politician and Bolshevik revolutionary who served as the Chairman of the Presidium of the Supreme Soviet. As a member of the Central Committee of the Communist Party from 1923 to 1976, he was the only Soviet politician who remained in power from Lenin, through the eras of Stalin, Khrushchev, to his retirement under Brezhnev. Mikoyan signs in his capacity as People's Commissar for Foreign Trade. The untranslated typed text refers to a request by the Soviet composers to the People's Commissar for Foreign Trade, asking for the authorization to buy abroad books, magazines and documents related to music, for an amount of 200 rubles. Overall age toning, with several tears only to the right edge, not affecting the signatures or text. F to G

SARTRE JEAN-PAUL: (1905-1980) French philosopher, playwright & novelist, awarded (but refused) the Nobel Prize for Literature in 1964. A.L.S., J P Sartre, one page, small slim 8vo, n.p., n.d., to a lady (´Madame´; and also marked for the attention of the staff at the Hotel l'Aiglon), in French. Sartre writes on a page removed from a waiter´s guest check pad (advertising Martini and Cognac Gaston de Lagrange) and states, in full. Veuillez laisser Mme. Michelle Vian à la chambre de ma mère, Madame Maney, pour y prendre un tableau que ma mère lui avait depuis longtemps donné´ (Translation: ´Please leave Miss. Michelle Vian in my mother's room, Mrs. Maney, to collect a painting that my mother gave her a long time ago´). Slightly irregularly torn to the upper edge, otherwise VGMichelle Vian (1920-2017) French translator and poet who had an affair with Sartre from 1949.Given the nature of the stationery Sartre used to write the present letter, it is not an implausible notion to imagine the philosopher sat at a table in Les Deux Magots, the Paris café which became the rendezvous for the literary and intellectual elite of the French capital, whilst he penned the note, perhaps in the company of Vian herself.

DUMAS ALEXANDRE: Père (1802-1870) French Writer whose works include The Three Musketeers. An extremely interesting and lengthy manuscript by Dumas, related to his travel impressions during his stay in Vienna in 1865, and which would be later published. Autograph manuscript signed `A. Dumas´, nine pages, 4.5 x 8.5, Vienna, n.d. [November 1865], in French. The nine pages manuscript are written only to front pages, to nine sheets of paper. The pages of this account of his stay in Vienna are pure Dumas, at his most delicious, linking anecdotes, portraits, geographical, ethnographic, moral, historical and artistic considerations, with a lot of humour and references to his father and even to Napoleon. Dumas starts referring to hunting on the banks of the Danube, and further holds forth one of his favourite topics, women, stating in part `Les Viennois sont certainement de tous les peuples d'Allemagne, celui qui par sa gaîté et ses manières ressemble le plus au peuple français – les femmes y sont ravissantes de beauté et cette beauté toute poétique qui rappelle les héroïnes des ballades d'Uhlaud, les tragédies de Schiller et les poèmes de Goethe, ne ressemble en rien à la beauté, mobile et railleuse des Parisiennes...´ (Translation: "The Viennese are certainly of all the peoples of Germany, the one who in their gaiety and manners most resembles the French people – the women there are ravishingly beautiful and this very poetic beauty which recalls the heroines of Uhlaud's ballads, the tragedies of Schiller and the poems of Goethe, resembles in no way the mobile and mocking beauty of the Parisian women...") And looking for the reason for such beauty, he puts forward this hypothesis `J'en trouverais peut-être la cause dans la fusion des plus belles races du globe. Vienne est le creuset où viennent se jeter Bohème, Hongrie, Grèce, Italie, Allemagne – et même Turquie... Il est évident que les croisements de races doivent donner de merveilleux produits.´ Translation: "I would perhaps find the cause in the fusion of the most beautiful races of the globe. Vienna is the melting pot into which Bohemia, Hungary, Greece, Italy, Germany – and even Turkey – come to throw themselves... It is obvious that crossbreeding must produce wonderful products.") Further, Dumas refers to Schlegel and to theatre actresses, saying `... après Ducis, Schlegel est certainement un des plus habiles mutilateurs que je connaisse... L'Allemagne est le seul pays où les soirées littéraires ne soient pas ridicules à cause de la poésie native des femmes. Cherchez parmi toutes nos Parisiennes une actrice qui puisse jouer Juliette et vous ne la trouverez pas...´ (Translation: "...after Ducis, Schlegel is certainly one of the most skillful mutilators I know... Germany is the only country where literary evenings are not ridiculous because of the native poetry of women. Look among all our Parisian women for an actress who can play Juliet and you will not find her...") Further again Dumas makes very interesting comments relating to his father, the republicain general, and compares his arrival at Vienna to the one Napoleon did, stating in part `Je ne sais si vous serez de mon avis, mais je trouve qu'il est assez curieux pour un Français fils d'un général républicain qui a fait contre l'Autriche les campagnes de 96 et 97 – de chasser le matin sur les bords du Danube... d'entrevoir à travers les saules et les peupliers dépouillés de leurs feuilles le champ de bataille de Wagram – et après Palestro, Magenta, Solférino... d'être attendu le soir chez la première artiste dramatique de Vienne, qui a rassemblé les plus jolies femmes des quatre ou cinq théâtres de la capitale pour lui faire fête. Si glorieuse que soit l'entrée de Napoléon à Vienne, j'aime mieux la mienne.´ (Translation "I don't know if you will agree with me, but I find it rather curious for a Frenchman, son of a Republican general who fought in the campaigns of 96 and 97 against Austria, to hunt in the morning on the banks of the Danube... to glimpse through the willows and poplars stripped of their leaves the battlefield of Wagram - and after Palestro, Magenta, Solferino... to be expected in the evening at the home of the leading dramatic artist in Vienna, who has gathered the prettiest women from the four or five theaters in the capital to celebrate him. However glorious Napoleon's entry into Vienna may have been, I prefer mine...") Before concluding, Dumas describes a very amusing scene, saying `Ce matin un monsieur parfaitement vêtu, suivi d'un chien de l'espèce des griffons me fait passer sa carte. Je le prends pour un gentleman quelconque, je lui ouvre la porte, je vais au-devant de lui, je l'invite à entrer lui et son animal. Le monsieur me fait un long discours auquel je ne comprends rien... Le monsieur transporte tout ce qui occupe le milieu du salon sur le piano et les consoles, puis il met une chaise sur la table dégarnie, cherche de tous les côtés, et découvre un tabouret qu'il met sur la chaise. Après quoi il couche tous les fauteuils du salon à distance égale les uns des autres... Quand son aménagement est fini il fait signe à son chien qui se dresse sur ses pattes de derrière, se met à sauter par-dessus les fauteuils, puis sur la table, puis sur la chaise, puis enfin sur le tabouret où il s'assied gravement...´ (Translation: "This morning a perfectly dressed gentleman, followed by a dog, a griffon, gave me his card. I took him for any gentleman, I opened the door, I went to meet him, I invited him and his animal to come in. The gentleman gave me a long speech which I didn't understand at all... The gentleman moved everything that occupied the middle of the living room onto the piano, then he put a chair on the table, searched all over, and discovered a stool which he placed on the chair. After which he laid all the armchairs in the living room at equal distances from each other... When his arrangement was finished he signaled to his dog who stood up on his hind legs, began to jump over the armchairs, then onto the table, then onto the chair, then finally onto the stool where he sat down gravely...") An amazing manuscript full of fantasy. Very small overall minor age wear, otherwise G to VGIn November 1865 Dumas travelled to Austria and Hungary together with his daughter to give a series of lectures. As expected, he took advantage of this stay to share his travel impressions with newspapers. These appeared in French in Vienna in Die Debatte and, in France, in the newspaper Les Nouvelles.

A pair of Italian VBC Ceramica Corinthian column capital pedestals, height 47cm

Tottenham Hotspur FC Home Football Shirt 2015 Capital One Cup Final Size XL. Under Armour / AIA (VG) with tags

A collection of four early 19th century partial chapbooks / pamphlets relating to performing magic, fireworks and boxing, bound into one volume. Comprising;Partial illustrated frontis titled New Edition with Addti***/ THE TRUE AND EASY GUI*** /Conjuri** /Being a Capital Collection of the best tricks practised b** / Sieur Boan [Boaz?] Breslaw, Lane, Gyngell, **/ TO WHICH IS ADDED THE / COMPLETE ART OF MAK**/ Fire Wor** /, with top portion of an image of a conjurer (the bottom half of the page is missing), followed by numbered pages 7-32 describing tricks including ‘The watch beat to pieces in a Mortar’, ‘The card nailed to the wall by a pistol shot’, ‘The learned little swan, one of Mr Breslaw’s Grand Deceptions’, ‘To make a Calve’s Head bellow as if alive when dressed and served up’, ‘To render hideous the faces of all the company’, ‘of Sky Rockets’, end ending with a caution not to make fireworks by candlelight. Printer Ann Kemmish, Borough, London (we have not been able to locate another edition of this volume).Frontispage torn out, but followed by an edition of Henry Dean’s Whole Art of Legerdemain;The Whole Art of Legerdemain; / or,/ Hocus pocus in perfection / being a curious selection of diverting secrets and experiments in the / arts of conjuration and slight of hand performed in different parts of Europe and in London, by the most celebrated professors in natural magic and legerdemain, including the newest discoveries: to which is added, the real secret to make and fill an air balloon, and the art of making fire-works… London Printed and sold J Bailey, 116 Chancery Lane, price sixpence, the following page titled Magical Mirror; or Philosopher in Good Humour, then pages numbered 4-28 detailing magic tricks (many duplicates of those in the previous publication). Circa 1809.Frontispage torn out, then;Pyrotechny, the Art of Making Fireworks. 18 numbered pages to include instructions for making gunpowder, Roman Candles, Fire Pumps, Crackers, Stars, Sky Rockets etc with ingredients and measures. No publisher or printer details.Frontispage torn out, then;Just five remnant pages including title from THE ART AND PRACTICE OF SELF-DEFENCE; OR, SCIENTIFIC MODE OF BOXING, DISPLAYED IN AN EASY MANNER, whereby every person may comprehend this most useful art without the aid of a master. To which is added, DESCRIPTIONS OF PUGILISTIC ATTITUDES, also the ART OF ATTACK, as practised by the most celebrated boxers of the present day, got up under the superintendence of A CELEBRATED PUGILIST. London, printed and sold by J. Bailey, 116 Chancery Lane, circa 1819.Bound together with various previous owner’s hand-written inscriptions to the inner covers.

An Edwardian silver candlestick, Sheffield 1904, with a Corinthian capital and trailing foliate pattern, on a square stepped base, weighted, 32cm

A PAIR OF GEORGE II CAST SILVER CANDLESTICKS by John Cafe, London 1748, with a knopped faceted stem, on quatrefoil bases, with removable sconces, 22cm high, 1,259gms / 40.47oz Condition Report:"One sconce and candlestick have been nicked twice to the capital and sconce base. The other has been nicked once to the capital and sconce base.One is part-marked with Lion passant, other isnt. The capitals are marked - one with maker's mark and the other is unclear. Crested to the bases with a griffon's head erased. They need cleaned"

Eclairage Electrique De St. Petersbourg Capital Social: Dix Million De Francs. Action Privilegiee De 250 Francs. No. 25708

Carlo Maratta (Italian, 1625-1713) and Gaspard Dughet (Italian, 1615-1675) With several of the figures by Giuseppe Paseri (Italian, 1654-1714), according to Dr. Alessandro Aggresti (on the basis of digital image) Diana at her bath surprised by Actaeon Oil on canvas Provenance: Palazzo Santini, Lucca (by repute); Sale: Langford's, London, 8 March 1776, lot 63 (as Francesco Albani,, Nymphs bathing), where sold for 13 guineas; Ramsay Richard Reinagle, R.A. (1775-1862), London; His sale, Christie's, London, 14 June 1825, lot 76 (Francesco Albano & Gaspar Poussin, The Bath of Diana, Calisto escaping: a capital production of these renowned artists. From the Palace Santona [sic] at Lucca), where bought in, n.b. numbered Lot 72 in the first edition of the catalogue; His sale, Christie's, London, 22 May 1826, lot 98 (Francesco Albano & Gaspard Poussin, The Bath of Diana, the Nymphs are finely drawn, painted and coloured), where bought in; His sale, Christie's, London, 17 June 1830, lot 204 (Francesco Albano & Gaspard Poussin, The Bath of Diana; a rich and beautiful composition, of chaste yet brilliant effect), seemingly sold to 'Chapman', for £52-10; Ramsay Richard Reinagle, Edward Foster, London, 6 May 1831, lot 73, where acquired by Joseph Robins, London, for £29-8; His sale, Christie's, London, 22 February 1834, lot 75 (Francesco Albano, Diana and nymphs at the bath, disturbed by Actaeon, in a romantic cavern), where bought in; His sale, William Henry Hoard, London, 8 May 1835, lot 16 The present work is due to be published by Dr. Alessandro Agresti later this year as a rediscovered collaborative painting by Carlo Maratta and Gaspard Dugout, two of the leading Roman painters of the Baroque period, whose work together is well-documented, but by the both of whom only one painting is know today, the 'Landscape with the Union of Dido and Aeneas' in the National Gallery, London (NG95).  The present subject was treated on several occasions by Maratta and his workshop, though this is the only known example of one involving Dughet. The 'prime' version is now in the Devonshire Collections at Chatsworth House.  Dimensions: (Canvas) 30 in. (H) x 37.75 in. (W)

EDWIN MAXWELL FRY RA (BRITISH 1899-1987) ⊕ FOREST WITH A HERD OF DEER - A FOUR PANEL FRIEZE signed with initials and dated 77-8 lower left oil on board, in 4 parts each panel: 215 x 113cm; 84 3/4 x 44 1/2in all: 215 x 452cm; 44 1/2 x 178in unframed (4) Property from a Private Collection Provenance Ebrahim Golestan, Wykehurst Park House, West Sussex (Ebrahim Golestan, 1922-2023, was friends with Maxwell Fry from whom he commissioned the present work. The four panel frieze hung at Wykehurst Park House, West Sussex his home until he died, just short of his 101st birthday. An Iranian film maker and writer, Golestan was closely associated with the poet Forough Forrokhzad, 1934-1967. He produced her acclaimed film The House is Black in 1963, the same year that he made the Iranian classic Brick and Mirror. The last film he made in Iran was Ghost Valley's Treasure Mysteries in 1974) Thence by descent to the present owner) In the present panoramic frieze trees stand bare upon a mottled ground of rusty oranges and reds, interrupted by flowing green hedges, their undulating forms contrasting with the rigid, monotonous lines of the tree trunks. Across the rising landscape a herd of deer roam, some grazing whilst two stand alert, gazing out at the viewer. The displacement of the receding trees and the deer are reminiscent of The Hunt in the Forest by Paolo Uccello (1397-1470) in the Ashmolean Museum, Oxford, a masterpiece in linear perspective. In like manner, Maxwell Fry combines the symmetry and rhythmic punctuation of the trees with the asymmetrical flow of the organic shapes that make up the landscape, to create a painting that reflects the contrasts found in nature. Architect as well as artist, Maxwell Fry headed up an influential London practice with his wife Jane Drew, the couple winning prestigious commissions pre- and post the Second World War, and working with Le Corbusier in the 1950s to create the new capital city of Punjab at Chandigarh, India. First introduced to Le Corbusier's architectural principles by Canadian designer Wells Coates, Maxwell Fry incorporated many of his ideas into his own designs, including his five 'points' of architecture. One of Le Corbusier's dictums was the inclusion of pilotis (thin columns) into the structural support and composition of a building, a feature that Maxwell Fry translated into the vertical trunks of the trees in the present composition. Maxwell Fry designed many London houses, ranging from Kensal House in Kensal Rise, a development of sixty-nine flats, to the ultra-modernist homes Miramonte in New Malden and Sun House in Hampstead, all of which feature subtle curves alongside solid lines, which was a pivotal feature of Maxwell Fry's work. Whether building or painting, he emphasised beauty in contrast, both natural and manmade.

SIR PETER LELY (BRITISH 1618-1680) ANNE DE LAUNE, NÉE SANDYS (B. 1634); ABRAHAM, DE LAUNE (1629 - 1709) Oil on canvas, a pair Each 55.5 x 43cm (21¾ x 16¾ in.) (2)Provenance: By descent in the sitters family to Alvred Faunce de Laune Sale, Christie's London, 20 November 1964, lot 35 (90 gns). Richard Gayner (advised by Sir Oliver Millar) and thence by descent Private collection, USA  Abraham de Laune was the son of Gideon Delaune (1564/5-1659), the eminent Huguenot physician and theologian, and his wife Judith Chamberlain. The sitter's father was appointed apothecary for Anne of Denmark, James I's queen, sometime between 1606 and 1610. Gideon was also one of the foremost members of the Huguenot immigrant community in the capital, which gathered together in the autonomous French church in Threadneedle Street, London. Abraham married Anne Sandys, the daughter of Edwin Sandys of Northbourne Court, Kent. They lived at Sharstead Court, Newnham, Kent. Condition Report: Portrait of Anne de Laune The canvas is relined and presents evident craquelure across the whole surface. UV light reveals various retouches most evident in the hair of the sitter, and where the craquelure has widened too much, such as on the forehead and near the lips. To conclude, more retouches are present in the background area on the right of the sitter. Portrait of Abraham De Laune The canvas is relined and presents a visible craquelure most evident in the sitter's visage. UV light reveals a few retouches in the hair of the sitter and on the gown. Such retouches are scattered and are not wider than 3cm. Condition Report Disclaimer

William I (1066-87), silver Penny, two stars type (1074-77), Oxford Mint, Moneyer Wulfwi, facing crowned bust with star either side, all within linear circle, legend commences at top with outer beaded circle surrounding both sides, +PILLEM REX ANII, rev. annulet at centre of cross bottonnée, over quadrilateral with incurved sides, +PVLFPI ON OXSNEF, 1.32g (cf. Aelfwi SCBI 12:85 Ashmolean Museum, cf. Aelfwi SCBI 21:1205 Yorkshire; BMC type V; N.845; S.1254). Brightly toned, well-centred with attractive portrait style, good very fine and scarce; William I, silver cut Halfpenny, bonnet type (1068-70), London Mint, Moneyer Godric, top half of facing crowned and diademed bust visible, legend and beaded circles surrounding both sides, [+P]ILLEMVS [REX], rev. half voided cross visible and terminals of pellet with crescents either side, pellet topped piles in angles, legend and beaded border surrounding, +GODRIC O[N] [...], 0.63g (SCBI 21:1153 Ashmolean Museum; BMC type II; N.842; S.1251). Lightly toned with a visibly well-centred strike, wear in legends to both sides but fine style seen in both portrait and half voided cross, almost very fine and scarce.The two stars Penny legend translates as William, King of the English on obverse and Wulfwi on Oxford on the reverse. The bonnet cut Halfpenny legend translates as William, King of the English on obverse and Godric on London on the reverse.Despite the transition from the Anglo-Saxon to the Norman period, numismatically the three-year change of coin types continued. The two stars type of William I is the fifth of the seven types attributed to his reign. According to North, the London Mint had up to 38 moneyers active throughout the reigns of William the Conqueror and William Rufus as the principal mint.The first Norman King of England, William the Conqueror, born around 1028, was the son of Robert I of Normandy and Herleya. A descendant of Rollo, William became Duke of Normandy in 1035, subsequently marrying Matilda of Flanders in the 1050s, ensuring a powerful ally in that neighbouring region. After a protracted struggle and after quashing several rebellions, his hold over Normandy was secure by 1060 and with appointment of supporting abbots and bishops in the Norman church, he subsequently secured the region of Maine in 1062. William's first cousin once-removed was the childless Edward the Confessor of England; considering this family connection and the fact that Edward had previously told him he would succeed, he assumed a claim to the throne of England over Harold Godwinson, whom Edward had named as his successor on his deathbed in January 1066. William also claimed that Harold previously had promised the throne to him in the event of succession, Harold having sworn over holy relics in William's presence to support his claim as depicted in the Bayeux tapestry. William therefore built up a powerful invasion force to cross the channel and fight for the right to rule England as of September 1066. He landed at Pevensey Bay and after setting up camp with a basic fort at Hastings he marched north to meet Harold at Senlac Hill at Battle, East Sussex on the 14th October. A fight raged for most of the day, with at one point a rumour spread that William was slain resulting in him having to remove his helmet to reveal he was alive and fighting, boosting the morale of the Normans for the final onslaught in which Harold perished, either from an arrow in the eye, cut down by a horseman or surrounded by a band of warriors. William then went on a military tour to put down local uprisings leading to his crowning in Westminster Abbey on Christmas Day. He made arrangements in London for governance for whenever he would be in Normandy, and by 1075 his hold on England was almost complete with many forts and castles constructed, as was the Norman style. His later years involved quelling other uprisings in Europe and difficulty with his eldest son Robert Curthose, but his most famous achievement in England was the preparation of the Domesday Book in 1086; a survey of the land, land-owners and nobles within it, listing pre-conquest and current holders at that time. William died in September 1087 leading a campaign in northern France and was buried at Caen. Normandy was given to eldest son Robert, with England given to his next surviving son William Rufus.Following Roman occupation, the capital city was London upon the River Thames, which minted some of the earliest Saxon coins with gold Thrymsas and silver denarii with a Londuniu signature. Mercian Kings onwards from Offa minted coins there, but the first coin to actually say City of London upon it is the unique Ludica portrait Penny found in 2016, followed by subsequent coins of Ecgberht. In 871 the Danes wintered in London for the first time, but it was King Alfred of Wessex who settled and fortified the capital circa 880 to resist further invasions. Edward the Elder incorporated the City into Wessex's domains in 911 and it resisted a major attack in the reign of Aethelred II in 1009. London submitted to the Danish Swein Forkbeard in 1013, but three years later the citizens accepted Eadmund Ironside as King and resisted a siege by Canute. Later, unsettled times came in the anarchy period of the reign of King Stephen, with the city remaining loyal to the King except for a few months in 1141 when Empress Matilda was admitted but expelled shortly after. Coinage activity here has been fairly constant throughout history from the Romans until the reign of our current King and only moved away with the Royal Mint's expansion to southern Wales in 1969.

'LISBON PORT HARBOUR' ATTRIBUTED TO THE MASTER ARTIST NIHAL CHAND (1710-1782) INDIA, RAJASTHAN, KISHANGARH, CIRCA 1750 ink and gouache on card, depicting a large square with a turreted and arched city entrance overlooking a harbour, various figures in European dress going about their daily chores including moving items from incoming boats, and on walkabouts, the arched entrance indicating a larger city in the background, to the left of the image, a variety of towered or minaret-style buildings in the background, cross hatching and highlights in black ink 19.7cm x 28.2cm Private UK Collection. This rare eighteenth-century illustration attributed to Nihal Chand of a city harbour that closely resembles the praco do Commerco in the Portuguese capital of Lisbon, is very probably based on an European print. The use of cross-hatching within the details of the buildings to the left, the unusual lines in the sea and sky, as well as little details on the square indicate that the artist was imitating the engraver of a print. The artist most known for this trait is Nihal Chand, whom this painting has been attributed to. For a comparable painting by Chand, entitled ‘Endless Vistas at Kishangarh’, formerly in the Stuart Cary Welch Collection, and now in the Harvard Museum, see object number 1995.116. Cary Welch notes on Chand: ‘Fascinated by the cross-hatching and freely stroked lines of the engraver’s tool, he has imitated them with loving care' (see Exhibition Catalogue, A Room for Wonder: Indian Painting during the British period, 1760-1880, 1978, pp. 130-131). There are a number of other similarities with our painting, including the centred perspective, the sketching of the cloud and sky, and the size of the painting. Nihal Chand, both an artist and poet, was the chief painter of the Kishangarh court during the reign of Savant Singh (also known as Nagari Das). He is credited for being one of the leading Rajput artists of the 18th century.For a full and thorough study of Kishangarh Painting see N.Najat Haidar, The Kishangarh School of Painting: 1680-1850, D. Phil. Thesis, Oxford, 1995.  See also P. Pal, Court Paintings of India, New York, 1983, R.13.

AN ILLUSTRATION FROM A RAGAMALA SERIES: MADHUMADAVI RAGINI INDIA, ANDHRA PRADESH, KURNOOL, CIRCA 1810-20 gouache on paper heightened in gold, brown border with red margin rules, depicting a highly detailed scene with a maiden at the centre standing on her bed, two attendants to her left and two seated musicians to her right, her hands up in the air, on a carpeted terrace, orderly gardens in the background with various birds resting in exotic trees, in the distance a palace on a mountain top, all under a stormy night sky, mounted, glazed and framed Sight size 30.5cm x 25cm Kurnool, on the banks of the river Tungabhadra and over a hundred miles from Hyderabad, was a large subordinate state of the capital with an important school of painting. For comparison and further reference see, M. Zebrowski, Deccani Painting, London, 1983, pp. 15, 148-149. 23 9, 244-245, 263, 272-273.  

Silver hallmarked George II candlestick. A cast candlestick with gadrooned capital, shell shoulders to a knopped stem, raised on a shell hexagonal base. Hallmarked London 1753 - Dorothy Sarbitt, who applied for her own mark after her husbands death in 1752, her mark is not known after 1754. Examples of her work are displayed in the National Museum of Women in the Arts. 640g gross weight.

Circa 1912-14The cylindrical bark basket with silk lining, the exterior applied with the crowned cypher of Grand Duchess Olga Nikolaevna above forest scenes of trees, foliage, mushrooms and wild strawberries, painted by Alexandra Schneider, signed A Schneider [A Шнейдеръ].Height 7 3/4 inches (19.7 cm), width 7 inches (17.8 cm).Provenance:Purchased at Hammer Galleries, New York, 1959.Acquired from the above by the family of the present owner.Alexandra Schneider Alexandra Petrovna Schneider (1863-1942), was admired and celebrated in Russia at the beginning of the twentieth century for her paintings of flowers. She was inspired most of all by the beauty of the southern coast of Crimea where she painted many of her works. Schneider studied at the drawing school of the Imperial Society for the Promotion of the Arts in St. Petersburg and also in Paris, later exhibiting in the French capital and in Munich and Rome. In 1909, with the help of her patron, Nikolai Roerich, she held her first solo exhibition in St. Petersburg. Her work was so well received that she sold all of the 230 works exhibited, including many to museums, such as the Russian Museum. Schneider’s work soon came to the attention of Empress Alexandra Feodorovna, who in 1912 ordered several works of the artist’s works for the interiors of the Alexander Palace in Tsarskoye Selo. The Empress thought so highly of Schneider that she invited her to teach drawing to her daughters, the grand duchesses, and in 1912-1914 the artist accompanied the Imperial Family to their palace in Livadia. While in Crimea, Schneider often visited Kharaks, the nearby palace of Grand Duke George Mikhailovich, to paint its beautiful gardens. In 1913, she published a popular book of postcards depicting the flower gardens of Kharaks. The present basket surely dates to the period of 1912-1914 when Schneider was in the company of the Russian Imperial Family and teaching the grand duchesses. The basket, applied with the monogram of Grand Duchess Olga Nikolaevna (1895-1918), the eldest child of the Emperor and Empress, is signed by Schneider and painted with the flowers and scenes of nature which were her hallmarks.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

A Victorian bronze figural candlestick, the sconce and capital supported by a Cherub riding a fish holding gilded fish aloft, triform base with three seated muses, (af) 32cms high

A PAIR OF GEORGE V SILVER FOUR-LIGHT CANDELABRA. A PAIR OF GEORGE V SILVER FOUR-LIGHT CANDELABRA. on square bases with incurved corners (loaded), and knopped baluster stems, the three scrolling arms each supporting a spool-shaped capital with detachable nozzles and with a central capital, by Elkington & Co, Birmingham 1919; 17" (43.2cm) high; weight of the branches 46ozt (2). *CR Please contact Connor for further informationconnor.swanwick@lawrence.co.uk.

Sándor Brodszky (Hungarian, 1819-1901) Landscape with trees,artist's stamp verso, mixed media on paper, 9cm x 12cm Sándor Brodszky was a succesful Hungarian painter whose works are featured in the Hungarian National Gallery. In 1845 he went to Munich, where he spent ten years, during which time he studied at the Akademie der Bildenden Künste under Albert Zimmermann (1808-88) and Friedrich Voltz (1817-86). In 1847 he exhibited his painting Solitary Mill (private collection) at the Kunstverein in Munich. He subsequently became a well-known landscape painter. As well as many successful exhibitions in Germany, from 1842 he regularly exhibited landscapes and still-lifes in the annual exhibitions of the Artists' Association of Pest (Pesti Muegylet) and he settled in the capital in 1856. In the same year he painted a view of the Margaret Island (Laxenburg, Royal Collection) for the Emperor Franz Joseph. In 1857 the Hungarian National Museum in Budapest bought three of his newly painted landscapes: Balaton in Storm, Ruins of Sasko and Esztergom and its Surroundings (all Budapest, Hungarian National Gallery). Brodszky's main interest was stormy landscapes and landscapes with ruins. Sometimes he painted Hungarian landscapes with details that were more typical of the Campagna of Rome. His landscapes also included small staffage figures and popular genre scenes, often painted in a Romantic style. After 1870 he was one of the conservative landscape painters in Hungary who preserved the traditions of the artists in Vienna and Munich during the 1840s and 1850s.Provenance: The György Gordon (1924-2005) collection of Austro-Hungarian Art

A square terracotta pedestal, on detachable stepped plinth, a terracotta waisted pedestal with rope cordon, a reconstituted stone capital and a plinth, 20th c, square pedestal and plinth 60cm h (4)

Jernegan's Lottery interest, a 1736 catalogue of the Jernegan Lottery Sale, listing the silver, jewellery, and works of art to be won, the ultimate prize in the lottery was the enormous silver Wine Cistern, made under Henry Jernegan’s direction by Charles Kandler, John Michael Rysbrack and others, which is now in the Hermitage Museum, St. Petersburg, of the 70,000 ‘receipts’ offered by Jernegan at five pounds each, only 7,360 were to be ‘Blanks’, the rest winning either one of the Jernegan Medals, or one of the 360 other ‘Capital Lots’ listed in the catalogue. Note: According to research conducted by Peter Cameron, only one other example of this catalogue is known. For the story of the Cistern, see Cameron, P. (1996) ‘Henry Jernegan, the Kandlers and the Client who changed his mind.’ Silver Society Journal.

Four eighteenth-century Paktong candlesticks, each with a stepped square base, decorated with gadrooning, two with script initials to the capital, 'JAC' or similar, height 26.5cm approx (4)

Ca. AD 1 - 100. A gold ring with a flat, broad hoop featuring three engraved Roman capital letters Q·I·C· separated by interpuncts.For similar see: Bagot J., El legado de Hefesto: A Memorial to a Private Collection of Ancient Rings and Glyptics, n. 231, 477; Christie's, Live Auction, 7207 Antiquities, Lot 228.Size: D:15.39mm / US: 4 1/2 / UK: I 1/2; Weight: 5.44gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between the early 1960s to 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 1 - 50 .A column capital carved in Proconnesian marble. The lower register is adorned with alternating open and closed palmettes emerging from scrolling water leaves. Above, an Ionic kyma frieze encircles the abacus, composed of thin shells adhering closely to the ovules.Size: 750mm x 500mm; Weight: over 150kgProvenance: Private London collection, B.A.; formerly in pre-2000 European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Two Pairs of Silver Plate Candlesticks, with differing stepped square bases, one pair with Corinthian capital sockets and one with foliage capital; Together With a pair of silver plate three-light candleabra, each on oval base and with two scrolling arms and further central socket (6)Provenance: The Property of Sir Brooke Boothby ex Fonmon Castle.

A Set of Four Silver Plate Candlesticks, each on square base with beaded borders and fluted sides, terminating in a Corinthian capital socket; Together With a pair of Louis XV style silver plate candlesticks, each on shaped and stepped circular base (6)Provenance: The Property of Sir Brooke Boothby ex Fonmon Castle.

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) A COUPLE Watercolour 19cm x 15cm (7.5in x 6in) Christie's Edinburgh, Fine Paintings and Drawings, 18 November 1993, lot 818, where acquired by the present owner The works on paper by the Scottish Colourist John Duncan Fergusson presented here show his skill and enjoyment of the drawn line and the brushed stroke, in drawings and watercolours that cover subjects from chic Parisians to sunworshippers and sensual nudes.Mademoiselle E is an example of the elegant women who caught Fergusson’s eye, often in cafés, whilst he was living in the French capital between 1907 and 1913. Rarely without a sketchbook and a conté pencil or two in his pocket, he would sketch at speed to capture key facial features and elements such as a fashionable hat, by which to conjure up a character on the page. Samuel John Peploe and his Wife Margaret Mackay Walking in the Luxembourg Gardens is a testament to Fergusson’s great friendship with his fellow Colourist. Peploe and Margaret joined him in Paris between 1910 and 1912, where - according to Fergusson - Peploe declared that they had ‘some of the greatest nights of his life’.Fergusson left Paris in 1913 for the Cap d’Antibes, thus beginning a lifelong love of the area in the south of France. This affection was shared by his future wife, the dance pioneer Margaret ‘Meg’ Morris after she visited him there that Christmas. Her celebrated summer schools were held in Antibes on multiple occasions from 1923 and these happy, carefree months spent mainly outdoors were captured in watercolours such as The Red Belt, A Couple and Bathers at Eden Roc. A full and frank appreciation of the female form is clear in works including Standing Nudes, Nude Seated on a Balcony and Reclining Nude, La Petite Farandole, Cap d’Antibes (Margaret Morris). A more nuanced admiration for feminine beauty can be seen in In the Garden, which, along with Palm Trees, Cap d’Antibes, bears colour notes to inform future works. Throughout this group, one is aware of the artist’s touch upon his paper, whether applied through a pencil or a brush, creating intimate works which bring us to the heart of Fergusson’s creative process. Through works on paper such as these, he communicated feelings not only of friendship and love, but also an overall joie de vivre which characterises his oeuvre as a whole. 

JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN WALKING, CAP D'ANTIBES (MARGARET MORRIS) Charcoal and watercolour 17cm x 11.5cm (6.75in x 4.5in) Sotheby's Hopetoun House, Scottish Pictures, 19 April 2004, lot 77 (as ‘Meg, Cap d’Antibes')Private Collection, Scotland The works on paper by the Scottish Colourist John Duncan Fergusson presented here show his skill and enjoyment of the drawn line and the brushed stroke, in drawings and watercolours that cover subjects from chic Parisians to sunworshippers and sensual nudes.Mademoiselle E is an example of the elegant women who caught Fergusson’s eye, often in cafés, whilst he was living in the French capital between 1907 and 1913. Rarely without a sketchbook and a conté pencil or two in his pocket, he would sketch at speed to capture key facial features and elements such as a fashionable hat, by which to conjure up a character on the page. Samuel John Peploe and his Wife Margaret Mackay Walking in the Luxembourg Gardens is a testament to Fergusson’s great friendship with his fellow Colourist. Peploe and Margaret joined him in Paris between 1910 and 1912, where - according to Fergusson - Peploe declared that they had ‘some of the greatest nights of his life’.Fergusson left Paris in 1913 for the Cap d’Antibes, thus beginning a lifelong love of the area in the south of France. This affection was shared by his future wife, the dance pioneer Margaret ‘Meg’ Morris after she visited him there that Christmas. Her celebrated summer schools were held in Antibes on multiple occasions from 1923 and these happy, carefree months spent mainly outdoors were captured in watercolours such as The Red Belt, A Couple and Bathers at Eden Roc. A full and frank appreciation of the female form is clear in works including Standing Nudes, Nude Seated on a Balcony and Reclining Nude, La Petite Farandole, Cap d’Antibes (Margaret Morris). A more nuanced admiration for feminine beauty can be seen in In the Garden, which, along with Palm Trees, Cap d’Antibes, bears colour notes to inform future works. Throughout this group, one is aware of the artist’s touch upon his paper, whether applied through a pencil or a brush, creating intimate works which bring us to the heart of Fergusson’s creative process. Through works on paper such as these, he communicated feelings not only of friendship and love, but also an overall joie de vivre which characterises his oeuvre as a whole.