Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Immaculate Conception"Oil on copper. Signed and dated "Clapera fecit 1798".There is a small dent in the upper right corner.63,5 x 41,5 cm.Francisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5
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Star Trek: Voyager Crew Jacket and related memorabilia – includes, Star Trek: Voyager, black padded crew jacket, fully lined, with TV series title embroidered in white and gold across the back, full-zip front with snap fasteners, rolled hood and detachable zip sleeves, snap fastener front pockets, label reads ‘Result, Paramount Pictures 1998’, size M, unworn as new; together with, Star Trek: Wrath of Khan, uniform badge, boxed (x2); Star Trek: No Contact, stainless steel pen boxed (x2); Star Trek: Generations, journal; Star Trek pins; Star Trek Paramount Pictures CD case holder; Star Trek: Hypermouse II, computer mouse; Star Trek Sony watchmen; and Star Trek Paramount Pictures paperweight. (12) Provenance:The vendor worked as a receptionist for 15 years with Cinema International Corporation (CIC) film distribution company started by Paramount Pictures and Universal Pictures in the early 1970s.
Phillips: The British Military Library or Journal (2 volumes). J Carpenter, 1799-1801. 4to. Cont. full calf; rubbed. The Maps are present, BUT LACKING THE PLATES. SOLD A/F; Delafield, R: Report on the Art of War in Europe in 1854, 1855, &1856. Bowman, Washington, 1861. 4to. With maps and plates (many coloured). (3)
λ GRAHAM SUTHERLAND (BRITISH 1903-1980) DEVASTATION - EAST END - BURNT-OUT PAPER ROLLS & FALLEN LIFT-SHAFT Watercolour, coloured crayon, ink and chalk Inscribed Mound of paper rolls in burnt warehouse (to centre of the sheet); further inscribed Lift-shaft fallen over rubble (lower left); titled (verso) 21.2 x 16.3cm (8¼ x 6¼ in.)Painted in 1941. Provenance: Private Collection, Herbert Spencer (a gift from the artist) Thence by descent Literature:D. Cooper, The Work of Graham Sutherland, London, 1961, no.40b (illustrated as Burnt-out Paper Rolls) Herbert Spencer (1924-2002) was one of the most influential British graphic designers of the 20th Century. In 1949 he founded, wrote and designed the ground-breaking journal Typographica. It focused on typographical design and its applications in the real world. It was the first journal to really explore how typography can contribute to and even shape popular culture as opposed to merely its practical applications and it introduced a new generation of printers and designers to the history of modernist design in Europe. As a designer one of his first clients was the Institute of Contemporary Arts where he met Eric Gregory, the Chairman of Lund Humphries. They would subsequently go on to publish Typographica and Douglas Cooper's The Work of Graham Sutherland in 1961 which Spencer designed. It was during this project that he met and became friends with Graham Sutherland. Condition Report: The sheet is stuck down with glue at the two lower corners. Old glue residue visible to the upper two corners where the sheet was once stuck down. The illustration of paper rolls in the upper section of the sheet has been executed on a separate sheet and stuck down. A small nick to the lower left edge. Condition Report Disclaimer
A VICTORIAN OVAL GILTWOOD OVERMANTLE MIRROR BY C.NOSOTTI, 19TH CENTURY The rope-twist surround with tied cresting, supported by dolphins with looped tails and a channelled scrolled base, metal label to reverse `C.NOSOTTI, CARVER & GILDER, UPHOLSTER & CABINET MAKER, 398 & 399 OXFORD ST' 170cm high, 180cm wideIt is believed the firm of C. Nosotti began in 1822 as evidenced by an early Victorian mirror sold Christie's, London, 9 December 1992, lot 402 bearing the label 'C. Nosotti, House ... Looking Glass Manufacturer 397.398 Oxford Street 399.399, established 1822.' In 1829, Francis Nosotti, looking glass and picture frame maker, is listed at 298 Oxford St, while Andrea Charles Nosotti is listed at 2 Dean St., Soho, from 1835-40, trading as carver, gilder, upholsterer and cabinet maker. Almost certainly born in Milan, Andrea Charles Nosotti's high standard of workmanship led him to exhibit a giltwood cabinet at the 1862 London Exhibition that he had made for the Countess of Waldegrave's drawing room at Strawberry Hill. The cabinet is illustrated in J. Meyer, Great Exhibitions 1851-1900, London, 2006, p.167. Further commissions came from the millionaire industrialist John Allcroft at Stokesay Court, Shropshire. Nosotti advertised furniture in the Art Journal Catalogue of the International Exhibition, 1867, noting that his firm enjoyed the patronage of the Princess of Wales and he later collaborated with the firm Howard and Sons. Condition Report: Good, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. The mirrors replaced.Condition Report Disclaimer
AN ANTIQUARIAN GILT BRONZE AND CHINESE LACQUER-MOUNTED BREAKFRONT SIDE CABINET 19TH CENTURY, OF LOUIS XIV STYLE, THE LACQUER PANELS 18TH CENTURY The marble top above a frieze of foliate scrolls and acanthus above three doors displaying re-used lacquer panels enclosing oak shelves, above a raised plinth centred by a panel with bearded mask and with rosette blocks, on tapering feet with acanthus clasps, one lock stamped Comyn Ching & Co 97cm high, 160cm wide, 58cm deepProvenance: The Hon. Claude John Yorke, and thence by descent This imposing cabinet reflects the antiquarian taste prevalent in England in the 19th century, led by London dealer/agents and manufacturers such as Edward Holmes Baldock who was trading from various addresses in of Hanway Street from 1805 and Robert Hume trading from Berners Street from 1829. Indeed the Covent Garden and Soho areas of London witnessed a huge number of businesses engaged in the trade in new, restored and second hand furniture and works of art, from the likes of Baldock and Hume whose clients included royalty and the nobility, to traders who bought and sold `curios' and others who were little more than dealers in scrap. The trade was fanned by enthusiastic and wealthy and collectors of `antiques' such as William Beckford (d.1844) and the Duke of Hamilton (d.1852), historic house refurbishments such as at Hardwick Hall (1839 - 49) and sometimes hare-brained projects such as the Earl of Eglinton's chivalric Tournament of 1839 offered dealers an easy opportunity to make money, while auction sales of eminent collections brought yet more artefacts to the market. Part of this trade saw new furniture created re-using older element, particularly those items deemed precious or valuable, hard stones, Chinese and Japanese lacquer, carved ebony, boulle and tortoiseshell and even old oak. Makers such as Baldock incorporated these in conventional ways, using newly made pieces and the best are superbly executed. A detailed study of the trade was published by Mark Westgarth, Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers, Regional Furniture Society Journal, 2009, vol.23. A Regency cabinet of similar type, black and gilt-japanned and incorporating 18th century Kangxi lacquer was sold from Crichel, Dorset, at Christie's, London, 23 May 2013, lot 152 (£22,500 including premium).The attribution to a London antiquarian manufacturer is reinforced by the use of locks marked by the Seven Dials ironmonger Comyn Ching & Co. Condition Report: Generally good, structurally secure with wear and tear consistent with age and use. There are minor scratches marks and scuffing and some constructional shrinkage cracks. The marble top is in good order but with some repairs, a crack running front to back about 23cm from the left edge and a repaired break to the back right corner. Otherwise some minor edge chips. The ormolu all present, of large scale with good chiselling, overall of reasonable quality. Lacquer panels with typical craquelure and yellowing of surface varnish. but with sensitive conservation they would come alive. Minor lifting to the brass stringing on the left side. There is a 26cm piece of ebonised facing detached to the upright inside the centre door. The carcase made of framed and panelled oak, quite precisely machined and assembled typical of 19th century work. Each door revealing a single shelf. Overall a handsome and robust cabinet. Condition Report Disclaimer
FOLLOWER OF SAMUEL SCOTT THE THAMES AND ST PAUL'S CATHEDRAL FROM THE GARDENS OF SOMERSET HOUSE Oil on canvas 59 x 100.5cm (23 x 39½ in.) In a carved giltwood Kentian frame Provenance: Property of Florence Julia, Lady Granet, mother in law to Denis Mackail, and thence by descent Illustrated: The Connoisseur, May 1965, p.3 This painting is a copy of one by Canaletto (1697-1768) entitled 'The Thames from Somerset House Terrace towards the City', now in the Royal Collection (RCIN 400504, house-terrace-towards-the-city ). The Canaletto painting is one of a pair, painted by the artist probably when he returned to Venice from London in c. 1750-1. The accompanying picture is 'Thames from Somerset House Terrace towards Westminster' (RCIN 400506). The Canaletto pair of paintings was acquired by his great friend and patron, Joseph Smith, who was British Consul in Venice, and from whom they were later purchased in 1762 by George III. Canaletto became popular in England after his visit in 1746-55, which saw the emergence of a group of English topographical painters. One of the most renowned was Samuel Scott (1710-1772), who evolved from being a marine painter to creating drawings and paintings depicting scenes of the Thames and its environs. Scott, for example, completed a series of at least 62 paintings in oil and all but one use the Thames in the foreground, populated by river craft, together with riverside buildings forming a topographical townscape (M. Ellis, 'River and labour in Samuel Scott's Thames views in the mid-eighteenth century', The London Journal, Vol. 37 No. 3, November 2012, pp. 152-73). On occasion, Scott used artistic license rather than topographical accuracy, adding or deleting spires, and omitting material from the background. Scott's sea and cityscapes were fashionable, and he exhibited in London from 1761 at the Society of Artists, the Free Society, the Royal Academy and the Spring Gardens Rooms. Condition Report: The canvas has been lined. There is an uneven layer of dirty varnish and this has caused some discolouration to the sky (see online images). Over vertical stretcher mark visible, centre left, in a raking light. Rubbing and abrasions to the framing edges. Inspection under UV light reveals no evidence of restoration or retouching.Condition Report Disclaimer
18th century and later leather bound volumes, to include: The Works of Henry Fielding, 1783, vol. XI; Works of Moliere, 1748, vol. VI; The Works of Alexander Pope vol. IV part III, 1742; The Spectator, the twelfth edition, 1739; The Works of Moliere, volume the eighth, 1748; The Monthly Review or Literary Journal Enlarged, from September to December inclusive 1797; and four further volumes. (10)
Jurisprudence & Caricature - Edmund Xavier Kapp (1890-1978), after, four prints, from the popular series Ten Great Lawyers, Sir Thomas Willes Chitty, Bart, The Right Hon. The Baron Hewant of Bury, Lord Chief Justice, The Right Hon. Viscount Cave, other untitled, published by The Law Journal 1925, the largest 31cm x 21.5cm overall (4)'Oh to be silent! Oh to be a painter! Oh (in short) to be Mr. Kapp' - Virginia Woolf
![[Oldys (William)] The British Librarian: Exhibiting a Compendious Review or Abstract of our most Scarce, Useful, and Valuable](https://cdn.globalauctionplatform.com/39360469-0db9-4271-8365-b1fc00cb3067/48316f6a-df4a-40f9-8c6f-b1fc00cf4086/468x382.jpg)
[Oldys (William)] The British Librarian: Exhibiting a Compendious Review or Abstract of our most Scarce, Useful, and Valuable Books..., lacking advertisement f. at rear, title working loose, a few ink inscriptions to front endpapers, some light browning and spotting, contemporary calf-backed boards, spine in compartments, one lettered "24" in gilt, damp-stain to lower cover, extremities quite worn, upper joint split but holding firm, for T. Osborne, 1738 § Akenside (Mark, editor) The Museum: Or, the Literary and Historical Register, 3 vol., titles in red and black with engraved vignette, vol. 3 with 19th century ink ownership stamp to front free endpaper, vol. 1 A2-3 & 3I1 with small hole affecting a few letters, some scattered spotting, lightly browned, vol. 1 & 2 lower hinges cracked with a few leaves working loose, modern half calf over marbled boards, red morocco spine labels, rubbed, for R. Dodsley, 1746-47, first collected editions, book-label of J.O. Edwards; and others 19th century, including James Savage's journal The Librarian (1808-09), 8vo (7) *** Both mentioned first published in parts.
Mining.- Railways.- Mine rescue station commission of the State of Illinois. Report to the Governor and General Assembly, full-page lithographed and photographic illustrations and plans, p.[9] some red ink marking to outer margin, occasional spotting, original printed wrappers, lightly browned and marked, a solid copy, 8vo, Springfield, Illinois, Illinois State Journal Co., State Printers, 1911. *** Rare report on the specialist mine rescue station and train in Illinois. We can trace only three copies (Cornell, Colorado School of Mines, and Lehigh).
Wax seal impressions, 19th century An interesting group of red wax seal impressions originally in the collection of 'Mr. Allis F.S.A.' [some of which were exhibited by him at the Archaeological Institute and subsequently recorded in the Archaeological Journal of the Institute, No21, March 1849, page 73]. Subjects include St. Leonards Hospital, Leicester, found in Barn Field, Saffron Walden (the matrix now in the town Museum), St. Nicholas Monastery, Worcester, found in a garden at Bennington, Herts, the Statute Marchant of Worcester (Clothworkers company of Worcester 1654), and others, inscribed card mounts and letter of provenance (11)
PARRY (William E) Journal of a Voyage for the Discovery of a North West Passage from the Atlantic to the Pacific; with Supplement and Appendix, 2nd edition, London: John Murray, 1821-24, 4to, folding charts, plates as called for, some offsetting otherwise a good tight copy; Journal of a Second Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific. London: John Murray, 1824, 4to, plates and charts as called for, tissue guards, both vols. in 20th century tan half calf (2)
BROWN (Robert, Corporal in The Coldstream Guards) An Impartial Journal of a Detachment from the Brigade of Foot Guards commencing 25th February 1793 and ending 9th May 1795, Illustrated with a Map of the Seat of War. London: for John Stockdale, London, 1795, 8vo, with fold out map of the Southern Provinces of Holland with part of the Netherlandsrebacked and front board almost detached. Old ink notes to first leaves. Inserted notes leaf. See images.
DARWIN (Charles) A Naturalist's Voyage. Journal of Researches into the Natural History and Geology of the Countries Visited During the Voyage of H. M. S. 'Beagle' Round the World. London: John Murray, 1889, 8vo, portrait frontis, illustrations, 4 pp. advertisements at end, a crisp copy in bright original cloth gilt, early owner's name neatly stamped to a blank page
JAPANESE JOURNAL OF GEOLOGY AND GEOGRAPHY, a miscellany of volumes, early 20th century, with a selection of Cotteswold Naturalist Field Club, Bristol and Gloucestershire Archaeological Society, etc, ex college libraries, (qty)Condition Report: Ex-Library / public library / university library books will have ink stamps, labels or residues of library labels to the pages inside and / or spines.
THE WORLD OF FASHION AND CONTINENTAL FEUILLETONS, vol XIII, with 98 hand coloured plates and 23 others, London, Mr Bell, 1834-1837; THE YOUNG LADIES’ JOURNAL, vol 5 only, with 12 folding hand colour plates, London, Harrison, 1868, both disbound, (2).Condition Report: Both bindings defective. The black and white uncoloured plates in the smaller book are in poor condition. The colour fashion plates are better but all have been cropped along all edges and many have losses or no text remaining at the bottom.The pates in the larger book are all folded, some miss-folds and some with wear along the edges where they have protruded out of the book. General age toning to the paper, some shadows of plates visible on the reverse side.No library stamps to any. Colours bright.
A collection of 19th century and later illustrated books, to include, FOSTER (B), illus, SABBATH BELLS CHIMED BY THE POETS, Bell and Daldy, 1856; MORE LEAVES FROM THE JOURNAL OF A LIFE IN THE HIGHLANDS FROM 1862-1882; London, Smith, Elder & Co, 1884; GISSING (G), BY THE IONIAN SEA, London, Chapman and Hall, 1901, (21).
DEWHURST (H), BARCLAY’S UNIVERSAL ENGLISH DICTIONARY NEWLY REVISED, with 62 maps and other illustrations, full suede calf, spine split at gutters, London, George Virtue; MARTIN (B), NEW PRINCIPLES OF GEOGRAPHY AND NAVIGATION, lacking all plates and charts, London, 1758; THE JOURNAL OF THE HOUSE OF COMMONS, Vol XVII, 1711-1714; BUTLER (J), A COURSE OF GEOGRAPHY, incomplete, London, 1832; WHISTON (W), WORKS OF FLAVIUS JOSEPHUS, Dublin 1796; VAN DER BURG (A), SCHOOL OF PAINTING FOR THE IMITATION OF WOODS AND MARBLES, 6th edition, chromo and engraved plates, Crosby Lockwood, 1923; with other poor condition books with plates, (qty).Condition Report: AS FOUND - sold with all faults.
POTTLE (F), BOSWELL’S LONDON JOURNAL 1762-1763, No 415/1050, ¼ vellum, Heinemann, 1951; BAIN (I), ALBERT SCHLOSS’S BIJOU ALMANACS, No 99/150, Nattali & Maurice, 1969; WILDER (T), THE WOMAN OF ANDROS, 16/160 signed, Longmans, 1930; BETJEMAN (J), GHASTLY GOOD TASTE, No 112/200, signed, Anthony Blond, 1970; SELECTED POEMS OF COLERIDGE, 500 copies, Nonesuch Press, 1935; with four other books, (9).Condition Report: Poems of Coleridge in poor condition – heavily damp marked / browned internally.
This is a great photo of Dale Earnhardt Sr. in the car, with an image of the entire car superimposed in the bottom right corner. It is signed by the racing legend in black ink. The piece is matted and framed, with a sight size of 9.75"L x 7.75"H. The frame measures 15.25"L x 1.25"W x 12.25"H. Additionally included is the front-page section of the News-Journal from Daytona Beach, FL, the day he passed. Dimensions: See DescriptionCondition: Age related wear.
Measurements 80 x 56 cm, exhibited in: Paleological Museum of Elche, year 2015. Species from Mongolia. Attached is a certificate from the Cidaris scientific institution issued by Doña Aberasturi Rodríguez, year 2016. Property of an important collector and philanthropist, Barcelona. With attached steel and glass urn. Bibliography: You H. & Xu X. 2005. An adult specimen of Hongshanosaurus houi (Dinosauria: Psittacosauridae) from the Lower Cretaceous of Western Liaoning Province, China. Acta Geologica Sinica (English edition) 79(2): 168-173; Russell, D.A. & Zhao X. 1996. New psittacosaur occurrences in Inner Mongolia. Canadian Journal of Earth Sciences 33: 637-648.
A Good Swift "Dick" Petrological Microscope English, c.1895, signed to foot ‘J Swift & Son, London’, standing on cast brass foot finished in black lacquer, trunnions at top support body, plano-concave mirror on gimbal below substage, substage assembly with rotating Nicol prism on rotating divided circle for angular measurement, square stage with Swift 2″ patent stage, main body to rear of stage incorporating the ‘Dick’ rotating mechanism with fine focus via screw and course focusing via diagonal rack work, body tube incorporating a sliding plate with aperture and slide in/out Bertrand lens, to top a rotating and folding analyser engraved with 45 degree positions, complete with 2 Swift objectives, 3 eyepieces in original mahogany case The Dick Petrographic Microscope by James Swift & Son: A Historical and Operational Overview Historical Context - The history of the "Dick" Petrographic Microscope is closely intertwined with the evolution of microscopy and mineralogical studies in the late 19th and early 20th centuries. This particular microscope was developed by James Swift & Son, a company that became a key player in the production of scientific instruments in England during that period. James Powell Swift initially worked under the instrument maker Andrew Ross before establishing his own company in 1854. As the company expanded and his son joined in 1877, it was renamed J. Swift & Son. By 1912, the firm had evolved into James Swift & Son Ltd. One of the significant advancements in the field of petrographic microscopy came from Allen B. Dick, an inventor who, in 1889, designed a unique gearing system that allowed for synchronized rotation of both the polarizer (beneath the stage) and the analyzer (above the stage). This innovation made it easier to observe and study mineral samples by eliminating the need for constant adjustment and re-centration of the specimen and objective lenses when rotating the stage. Swift and Son were the first to manufacture microscopes incorporating Dick's patented gearing system, and they introduced the first model in their 1891 catalog. Known as the "Dick Microscope," . Although it was expensive and relatively few examples remain today, it was used by prominent geologists and mineralogists, including during the British polar expeditions to Antarctica. In particular, photos from the expeditions show geologist Frank Debenham preparing samples using a Swift/Dick microscope, highlighting the instrument’s role in significant scientific research. Over the years, the Dick Microscope underwent several iterations, with various modifications made to improve its design and functionality. Although these microscopes were produced for many years, they were always considered premium instruments, and as a result, their numbers were limited. Today, surviving examples of the Dick Microscope are rare, and many are missing essential components such as the slotted eyepiece or waveplates. The Operation of the Dick Microscope The Dick Petrographic Microscope was designed for examining thin sections of minerals using polarized light, a key technique in petrographic analysis. The microscope’s construction allows for the observation of mineralogical structures in ways that are not possible with conventional optical microscopes. Key to its functionality is the polarizer, which sits beneath the stage, and the analyzer, positioned above the stage. These two components are crucial for creating "crossed polars," a method that significantly enhances the visibility of mineral structures by utilizing polarized light. Here’s how it works: 1. Polarized Light: When light passes through the polarizer, only waves vibrating in one direction are allowed through. When no sample is on the stage and the analyzer is aligned at 90 degrees to the polarizer, the field of view appears black—a condition known as "extinction." 2. Anisotropic Materials: When a mineral sample, specifically an anisotropic material (one that has different properties depending on direction), is placed on the stage, it alters the path of the polarized light. Instead of the black field seen during extinction, various colors or interference patterns appear, depending on the mineral’s optical properties and its orientation relative to the light. 3. Crossed Polars and Rotation: The Dick Microscope’s main innovation is the synchronized gearing mechanism that allows both the polarizer and analyzer to rotate together. This eliminates the need to manually rotate the stage and re-center the objective lens—a process that could be tedious and required great precision. With the polarizer and analyzer moving in unison, the specimen remains stationary, allowing for smooth and efficient analysis of even the smallest mineral grains. 4. Mineral Identification: By observing the way light interacts with the mineral as the polarizer and analyzer rotate, geologists can identify minerals based on their optical properties, such as birefringence, pleochroism, and extinction angles. This technique is especially useful for studying thin sections of rocks, where the optical properties of individual mineral grains provide clues to their composition and formation history. 5. Waveplates and Additional Features: Many petrographic microscopes, including the Dick model, were equipped with accessories like waveplates, which help to determine additional optical properties of minerals, such as their optical sign (positive or negative). However, many surviving examples of the Dick Microscope lack these additional features, possibly due to wear or loss over time. Significance in Geological Research - The Dick Microscope represents an importatn step in petrographic microscopy. By simplifying the process of rotating polarizers and analyzers, it facilitated the study of mineral structures, making it easier for geologists to carry out precise optical analysis. This design innovation became particularly valuable in the field of geology, where the accurate identification and analysis of minerals are essential for understanding rock formation and the Earth's history. The instrument's role in early 20th-century geological expeditions, such as those to Antarctica, underscores its importance in scientific discovery. The high precision and quality of the microscope made it a valuabel tool for researchers working in some of the most challenging environments on Earth. References - Bracegirdle, B. *Microscopes: A Short History*. - Powell, J. "The Evolution of the Petrographic Microscope." *Journal of Geological Sciences*, 1901.
The Cabinet:English, c.1880, constructed of French polished mahogany, 2 doors opening to reveal a bank of drawers, label to inside of door reads 'ELCOCK - September 29th at 28 Fitzroy Avenue, Belfast, Harriet Sophia wife of Charles Elcock of a son, 1878', the top drawer containing a selection of slides, some by Elcock and others of diatoms and other subjects including one from the HMS Challenger Expedition, the bottom drawer containing a number of hand blown glass bottles and vials containing soundings from the HMS Challenger Expedition ( sounding dates, depths and locations corespond with the charts from 'VOYAGE OF THE CHALLENGER, WYVILLE THOMPSON, 1878', a copy of whihc is included in another lot), with 8 drawers of blank diatom slides and mounting equipment, the cabinet 59cm wide, 59cm tall, 33cm deep.Charles Elcock (1834-1910) was a well known figure in the world of microscopy, particularly known for his expertise in creating microscope slides featuring foraminifera, a group of amoeboid protists characterized by their intricate shell structures. Born in Pontefract, Yorkshire, England, on August 18, 1834, Elcock was the second son of Charles and Mary Ann Elcock. The Elcock family were Quakers, a religious background that profoundly influenced Charles throughout his life, as reflected in his writings and humanitarian efforts during the Franco-Prussian War. Elcock's early career was varied, encompassing teaching and publishing, but it was his later work in microscopy for whihc he is remembered.Early Life and Career.Elcock's early years were marked by a strong education and a diverse set of experiences. After the death of his father in 1837, his mother took up teaching to support the family. Elcock attended the Friends' School at Rawdon, which was a formative experience given the Quaker values emphasized there. His early professional life included roles as a teacher and printer, and he maintained a close association with the Quaker community throughout. By the 1860s, Elcock was involved in publishing religious texts, which eventually led to his work in London and Gloucester, where he likely developed his interest in microscopy through his connection with Alfred William Bennett, a prominent member of the Royal Microscopical Society.Microscopy and Foraminifera.Charles Elcock's most significant contribution to science was his work with microscopy, particularly in mounting foraminifera on microscope slides. Foraminifera are microscopic marine organisms that produce a shell, often referred to as a "test," which can be quite intricate and beautiful. Elcock's slides were celebrated not just for their scientific utility but also for their aesthetic appeal. His work involved arranging these tiny shells meticulously on slides, often organizing them by species and orientation, which made his slides valuable for both scientific study and as objects of beauty.Elcock's expertise in preparing these slides was widely recognized. He became a member of the Belfast Naturalists' Field Club shortly after moving to Ireland, where his skills in mounting foraminifera were lauded. In 1879, his work won a prize from the club for its artistic skill and superior finish. His techniques and methods were innovative, and he shared his knowledge through articles, most notably in the Journal of the Postal Microscopical Society, where he also advertised his slides.Legacy and Impact.Elcock's slides were distributed through well-known retailers in London, Manchester, and Bath, and they were highly regarded by contemporary scientists and hobbyists alike. Reviews of his work praised the meticulous attention to detail and the scientific value of the slides. His contributions to microscopy, particularly in the study of foraminifera, have left a lasting legacy in the field. While much of his life was also dedicated to religious writing and humanitarian efforts, it is his work in microscopy that has cemented his place in the history of science. A large part of his original equipment and the slides he produced is held at the Whipple Museum of Science in Cambridge: https://www.whipplemuseum.cam.ac.uk/explore-whipple-collections/microscopes/foraminifera-slides-and-working-tools-microscope-slide-maker Challenger Expedition: Revolutionizing Oceanography through Deep-Sea SoundingsThe Challenger Expedition (1872-1876), a pioneering oceanographic endeavor, marked a turning point in our understanding of marine sciences. This British voyage, named after the HMS Challenger, was the first dedicated scientific exploration to systematically study ocean basins, marine life, and geology. Among its most critical contributions were the extensive soundings, temperature recordings, and water samples taken during the expedition, which have had a lasting impact on oceanography.Deep-sea soundings, the process of measuring the depth of the ocean, were among the most revolutionary aspects of the Challenger Expedition. Utilizing newly developed sounding equipment, the expedition made nearly 500 soundings across the world’s oceans. These measurements were pivotal, not only in mapping the seabed but also in discovering the global patterns of oceanic trenches, underwater mountains, and plains.Prior to the Challenger Expedition, the depths of the oceans were largely unknown. The sounding techniques employed involved lowering weighted lines, known as sounding lines, into the ocean until they reached the seabed. The depths recorded by Challenger revealed for the first time the complex topography of the ocean floor. One of the most significant findings was the Challenger Deep in the Mariana Trench, recorded as the deepest part of the world's oceans.The data collected on these soundings provided foundational knowledge that spurred further scientific inquiry. For instance, the temperature profiles of ocean waters at different depths, also recorded during these soundings, helped scientists to begin understanding thermocline and its role in oceanic circulation patterns.The implications of these findings were vast. They challenged previous notions of a lifeless deep sea by providing evidence of life at all depths, and the samples of sediment helped develop the fields of marine geology and paleontology. This wealth of data collected by the Challenger laid the groundwork for modern oceanography and prompted the establishment of permanent oceanographic institutions.The Challenger Expedition was instrumental in transforming oceanography from a field cluttered with myths and speculations to a serious scientific discipline. Its soundings opened up new realms in the understanding of oceanic depths and laid down the benchmarks for future explorations, forever altering our relationship with the oceans. The expedition not only charted unknown waters but also set the course for future marine scientific endeavors, proving its legacy in the history of science.
λ SIR FRANK BRANGWYN (BRITISH 1867-1956) THE JAPANESE KIMONO: PORTRAIT OF LUCY RAY Oil on canvas Signed with initials and dated '93' (upper right) 100 x 95cm (39¼ x 37¼ in.) Provenance: The Fine Art Society, London Sale, Sotheby's, London, 19 May 1982, lot 19 The collection of Mr and Mrs Tim Rice Literature: The Decorative Arts Society, Journal 26, 2002, Horner, 'Brangwyn and the Japanese Connection', reference O3237 Young woman sits behind dark table facing left, wearing kimono and seated in white Chinese looking chair. Pink cherry blossom in bowl foreground, pale chrysanthemum patterned panel behind her left and plain peacock blue panel right.Very Whistlerian and obviously Japanese in 'quotation' mode. Unusual for Brangwyn, not only because he painted few portraits, but also because the lady is quite beautiful and the painting sympathetic to the female figure. The work was initially known as Lady in a Kimono until The Fine Art Society suggested that it was a portrait of Lucy Ray, Brangwyn's wife.Lucy Ray was born in 1870 in Stantonbury, Buckinghamshire so she would have been 23 in 1893 which accords with the sitter. She married Brangwyn on the 28th January 1896 at the Registry Office, St George's, Hanover Square, London, when she was 26 and Brangwyn was 29. The marriage certificate described her as a nurse. Unfortunately there are very few close up photographs of Lucy - one was taken in Longpré, France in 1896 and the other is undated.Very little is known about Lucy. Much was written about Brangwyn and his work during his lifetime, most of it 'purple prose', but very little biographical, except Philip Macer-Wright's book Brangwyn. A Study of Genius at Close Quarters. published in 1940. The reliability of the book is debateable, but he does quote Brangwyn as stating that 'sheer laziness had prevented him from making portraits of his wife'. Laziness was not one of Brangwyn's characteristics but one would have thought he'd recall painting her before they were married.Comparing the known photographs of Lucy with the portrait Horner argues that the sitter is unlikely to be Lucy, who had a much longer face, a wide mouth with thin lips and different shaped eyebrows. Whether we will ever know for sure who the sitter is remains a mystery.We are grateful to Dr Libby Horner for her assistance with cataloguing this lot. Condition Report: The canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges. The canvas perhaps a little loose. Inspection under UV reveals some scattered light retouching and infilling throughout.Condition Report Disclaimer
SIR DAVID MURRAY (BRITISH 1849-1933) THE GOLDEN BAY, LULWORTH Oil on canvas laid to board Signed and dated '1910' (lower left); further signed, titled and numbered (verso) 122 x 183cm (48 x 72 in.) Provenance: Sale, Sotheby's London, Scottish and Sporting Paintings, Drawings and Watercolours, 28 August 1990, lot 814Exhibited: London, Royal Academy, 1910, No. 171 Born in Glasgow in 1849, Sir David Murray R.A. spent the first eleven years of his career working as a mercantile clerk. During this time, he attended evening classes at the Glasgow School of Art and embarked on painting trips outside of the city. Aged twenty-four, Murray decided to focus exclusively on his art and left Glasgow for the Isle of Skye, living in a rude shelter on Loch Coruisk. He moved to London in 1882, where he resided in Millais' old studio at 1 Langham Chambers until his death in 1933. A devotee of painting en plein air, Murray's landscapes were initially drawn from the Scottish isles and highlands. He spent a period painting in France and Italy, while the Thames, East Anglia and the South of England provided inspiration in his mature years. Despite the delayed start, Murray's success came quickly. He was regularly exhibiting at the Royal Academy by 1877, was elected an Associate in 1891 and a full Academician in 1905. Marion Hepworth Dixon (1856-1936), a writer and art critic, explained that Murray's artistic skill lay in "his boldness to see, to attack the world as it is, and while making no mere transcript of nature, to seek neither to bedeck nor adorn it." His paintings capture the flux of nature and the prosaic beauty of the world around him. In the present work, Murray depicts a peaceful evening at Lulworth Cove in Dorset. Gulls swoop and bob along the waves, which roll gently into the shore. A warm sunset glow illuminates the canvas; iridescent colour dapples the sea and cliffs to brilliant effect. Exhibited at the Royal Academy in 1910, the painting was declared his best entry of the year and a display of "natural strength", with critics praising his confident handling of colour and light. 1 For Murray's early life, please see Marion Hepworth Dixon, 'The Art of David Murray, R.A.', The Ladies Realm, 1905 vol. 5. 2 Marion Hepworth Dixon, 'David Murray A.R.A.', The Art Journal, 1892, p.147. 3 The Art Journal, 1910, pp. 168, 170. See also The Illustrated Sporting and Dramatic News, May 7 1910, p.386 and The Edinburgh Evening News, May 7 1910, p.6 Condition Report: Other than two dots that fluoresce under UV in the upper right corner, the painting presents no damages or signs of restoration. The painting is good condition. Framed measurements: 223 x 164 cm; depth 14 cm Condition Report Disclaimer
AFTER FRANZ XAVER WINTERHALTER (GERMAN 1805-1873) VICTORIA, PRINCESS ROYAL (1840-1901) LATER EMPRESS FREDERICK OF GERMANY Oil on canvas With initials and date 'F. W.1857' (lower left) 31 x 23cm (12 x 9 in.)Provenance: Lady Jane Abdy, London Gifted to the present ownerAfter the picture in The Royal Collection (RCIN 404580)Princess Victoria, Queen Victoria's eldest daughter, wears the badge of the Order of Victoria and, in the three-quarter-length portrait, a prominently displayed ring on her left hand, alluding to her engagement to Prince Frederick William of Prussia, whose portrait Winterhalter painted at the same time (Schloss Friedrichshof). She was 17 years old. This painting is the first in a set of portraits of Queen Victoria's four eldest daughters. The Queen recorded in her Journal: 'Winterhalter has done a beautiful picture of Vicky, & is making an excellent head...of Fritz'.
A selection of books on antique ceramics and art glassware to include British Glass 1800-1914 by Charles Hajdamach, The Journal of the Glass Association magazines, An Illustrated Guide to British Jugs by R K Henrywood, Art Deco tableware by Judy Spours, and other similar books (35) Location:If there is no condition report shown, please request
Macao. De Guignes (Chretien-Louis), Carte de l'entreé de Macao avec la route des vaisseaux pour se rendre à Waupum et celle des bateaux du pays pour aller par l'interieur à Guantum Latitude de Macao 22 12 44. Longitude a l'Est de Paris 111 5, circa 1800, uncoloured engraved map, old horizontal fold to centre, contemporary manuscript title, place names, longitude, latitude, depth soundings and cartographer's imprint all in brown and black ink, island of Chicho also in contemporary manuscript, 500 x 460 mm, contemporary manuscript note to verso: '5 cartes manuscriptes dresseés par Mr. Deguidnes fils lors de son voyage de Brest à Macao en 1784 jointes au journal de son voyage. (Observations)' together with Singapore. Laurie & Whittle, Plan of the Port of Rhio on the Island of Bintang in the Staits of Sincapore, London: 1794, engraved map with hand colouring, small closed tears around imprint, lower blank margin sympathetically replaced with later paper, 530 x 420 mm plus Indonesian Islands. Heather (William), A New Chart of the Eastern Straits to China Drawn from the Best Authorities, London, 1800, uncoloured engraved sea chart, trimmed to image to lower and upper margin, short closed tears, 650 x 930 mm QTY: (3)NOTE:The first item is a possible pre-publication working proof with manuscript annotations before title and letters. The note to the verso reads '5 handwritten cards sent by Mr. Deguines fils during his trip from Brest to Macao in 1784 attached to the journal of his trip'. The map would be published in Voyages a Péking, Manille et l'Île de France, faits dans l'intervalle des années 1784 à 1801, Paris, 1808
Tuckey (James Kingston). Narrative of an Expedition to Explore the River Zaire, Usually Called the Congo, in South Africa... To which is added the journal of Professor Smith, 1st edition, London: John Murray, 1818, folding engraved chart, 13 engraved plates, including one hand-coloured, occasional light spotting and toning, bookplate of Sheffield Airey Neave (1879-1961, entomologist), contemporary half calf, joints cracking, edges lightly rubbed, 4toQTY: (1)
Dugmore (A. Radclyffe). Camera Adventures in the African Wilds. Being an account of a four months' expedition in British East Africa, for the purpose of securing photographs from life of the game, 1st edition, London: William Heinemann, 1910, map, half-tone illustrations, some light spotting, bookplate of surgeon John William Walker, top edge gilt, original cloth gilt, spine faded, 4to, with a 1 pp. autograph letter from the author dated 1912 tipped-in to dedication leaf with a press cutting and loose prospectus for the author's forthcoming film 'The Wonderland of Big Game', together with Mecklenburg (Duke Adolphus Frederick). In the Heart of Africa, translated by G. E. Maberly-Oppler, 1st edition in English, London: Cassell and Company, 1910, colour frontispiece, 2 folding maps (one with short closed tear), monochrome illustrations, some light spotting, bookplate of John William Walker, original cloth gilt, spine faded, 8vo, plus Livingstone (David). Missionary Travels and Researches in South Africa; Including a sketch of sixteen years' residence in the interior of Africa, 1st edition, later issue, London: John Murray, 1857, folding uncoloured frontispiece, portrait of the author, 2 folding maps (one contained in rear pocket), wood-engraved plates and illustrations, occasional light spotting, John William Wallker bookplate, original blindstamped cloth, rebacked with most of original spine relaid, 8vo, with 6 others including 1st editions A Walk Across Africa or Domestic Scenes from my Nile Journal, by James Augustus Grant, 1864, Norway. The Northern Playground, by William Slingsby, 1904, and Kenya Mountain, by E. A. T. Dutton, 1929QTY: (9)
![Lasker-Schuler (Else). Die gesammelten Gedichte, 1st edition, Leipzig: Verlag der Weissen Bücher, 1917, 224, [3] pp., top edg](https://cdn.globalauctionplatform.com/77603c7d-ab27-4102-b3a0-b17f00af972b/ee42840a-68e5-4ef9-a5d9-b1f70103cf53/468x382.jpg)
Lasker-Schuler (Else). Die gesammelten Gedichte, 1st edition, Leipzig: Verlag der Weissen Bücher, 1917, 224, [3] pp., top edge gilt, contemporary pale yellow quarter morocco over patterned boards, with pale yellow outer morocco tips, spine gilt decorated at head and foot, and with gilt morocco title label, spine lightly dulled, 8voQTY: (1)NOTE:Limited edition of 100 copies printed on handmade paper, this copy numbered 16 with old printed bookmark of Zinglers Kabinett, Frankfurt and Main loosely inserted.Else Lasker-Schuler is regarding as a pioneer of avant-garde poetry in Germany in the early years of the 20th century, and a major representative of literary expressionism. In 1903 she married Herwarth Walden, writer, publisher, gallerist and editor of the modernist literary and artistic journal Der Sturm. Between 1912 and 1915, Lasker-Schuler engaged in an important artistic correspondence with the artist Franz Marc, founder the Blaue Reiter movement with Wassily Kandinsky.
District Gazetteers of the United Provinces. Allahabad, Azamgarh, Agra, Lucknow, Cawnpore, 5 volumes, Allahabad: F. Luker, Supdt, Government Press, United Provinces, 1903-11, folding map to each, ex-library (to all apart from Allahabad), Liverpool Public Library bookplates to front pastedowns, original green cloth gilt, gilt shelf numbers to spine bases, rubbed, occasional soiling, 8vo, together with 8 volumes of the Imperial Gazetteer, 2 volumes of the Geographical Journal and N. W. F. Province Gazetteers, Peshawar District (Volume A, 1931) and 5 other related gazetteersQTY: (21)
Gleig (G. R.). Memoirs of the life of the Right Hon. Warren Hastings, first Governor-General of Bengal, 3 volumes, London: Richard Bentley, 1841, engraved frontispieces to volumes 1 & 2, contemporary tree calf, gilt decoration and morocco title label to spine, 8vo, together with:Vambery (Arminius). His Life and Adventures, Written be Himself, 2nd edition, London: T. Fisher Unwin, 1884, frontispiece and illustrations, bookplate of J. Cresswell to front pastedown, contemporary full calf, gilt decoration and morocco title label to spine, 8vo, plus Wolff (Joseph). Missionary Journal of the Rev. Joseph Wolff, Missionary to the Jews, 2 volumes, London: James Duncan, 1827-1828, contemporary half calf, gilt decoration and morocco title labels to spine, 8vo, and 18 other 19th-century leatherbound volumes, mostly 8vo QTY: (24)
Printers' International Specimen Exchange. With an Introduction by the Editor of the Paper and Printing Trades Journal, volumes 1-5, 7 & 8, London: Office of the Paper and Printing Trades Journal, 1880-84, 1886-87, numerous specimens of printing, including engravings, chromolithographs, etc., some heightened with gold, on various papers, some folding, edges untrimmed, endpapers with some damp-staining to margins, original vellum gilt, covers dust-soiled, ink stain to upper board of volume 3, some marks and spotting to other volumes, with occasional wear, thick 4to QTY: (7)NOTE:The Specimen Exchange was begun in 1880 as an offshoot of The Paper and Printing Trades Journal, published by Field and Tuer, and ran until 1898. The earliest volumes include commentary by Andrew White Tuer and his editorial assistant Robert Hilton.
![[Folio Society] Ghost Stories by M.R. James illustrated by Charles Keeping. Travels With a Donkey by R.L. Stevenson illustrat](https://cdn.globalauctionplatform.com/b70270c9-c3ec-45df-bd1c-b1d4013580c7/6d2aa9e0-63f8-4be7-85a9-b1f600ffdf67/468x382.jpg)
[Folio Society] Ghost Stories by M.R. James illustrated by Charles Keeping. Travels With a Donkey by R.L. Stevenson illustrated by Edward Ardizzone. A Shropshire Lad by A.E. Housman. Huckleberry Finn by Mark Twain with engravings by Harry Brockway. The Source of The Nile by Richard Burton, Nightmare Abbey, Journal of The Plague Year, and six others all in slipcases (13)
A poat-War ‘1953 East Coast Floods’ B.E.M. group of four awarded to Lance Bombardier G. W. Smith, Royal Artillery, late Royal Engineers, who displayed meritorious service during the worst flood to affect England and Scotland of the 20th Century British Empire Medal, (Military) E.II.R. (22304725 L/Bmdr. Gerald W. Smith, R.A.); Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, Palestine 1945-48 (14034604 Spr. G. W. Smith. R.E.) mounted as worn, good very fine (4) £240-£280 --- B.E.M. London Gazette 1 June 1953: ‘The Queen has been graciously pleased, on the occasion of Her Majesty’s Coronation, to approve the award of the British Empire Medal (Military Division) in recognition of meritorious service in connection with the East Coast Floods.’ Gerald William Smith served as Sapper in Palestine with the Royal Engineers and was later decorated for his valuable work as Lance Bombardier in the Royal Artillery during the North Sea Flood of 31 January-1 February 1953. Caused by extreme weather conditions of wind, high tide and low pressure, the storm surge succeeded in overwhelming flood defences along the East Anglian and Scottish coastlines, flooding land up to 5.6 metres above mean sea-level; the sudden inundation forced 30,000 people from their homes and resulted in the loss of 307 lives on land. Damage was later estimated at £50 million at 1953 prices, equivalent to approximately £1.3 billion today. The Nottingham Journal of 1 June 1953, offers a little more detail: ‘Lance-Bombardier Gerald William Smith, of 62 Heavy A.A. Regt., Royal Artillery, Lincoln, is rewarded for his work in the East Coast floods by the B.E.M. (Military). He was a driver in the Mablethorpe and Sutton area and lived in married quarters at Lincoln Barracks. He has now been demobilised.’
Queen’s South Africa 1899-1902, no clasp (Lieut: J. Hunter, V: Co: A. & S. Highrs:) nearly extremely fine £280-£340 --- John Hunter was born in Leith in 1878, the eldest son of iron works founder Robert Hunter of Glenfuir Mansion House, Falkirk. Educated at Falkirk High School, he fell under his father's wing and took initial employment at Portdownie Iron Works. On 27 December 1895, Hunter attested for the 4th Volunteer Battalion of the Argyll and Sutherland Highlanders. Appointed to "D" (Falkirk) Company as Private, he was advanced to a commission in July 1897. Sent to Chelsea Barracks in London, he secured the P.S. Certificate (distinguished) and another for knowledge of tactics. He also proved himself a crack shot at Bisley. An eager and enthusiastic young officer, Hunter ranked amongst the first to volunteer his services at the outbreak of the Boer War. Sent to the Cape, his active service proved fleeting when he was struck down with enteric fever at Heilbron in the Free State. Evacuated to hospital, he succumbed on 30 June 1900. The Falkirk & Midland Counties Journal of 7 July 1900, adds: 'Lieut. Hunter was well-known and respected, and where his readiness in volunteering for active service was regarded as showing a praiseworthy and patriotic spirit, his death has caused widespread and profound grief, and many deeply regret the end that has thus been brought to what gave promise of being a successful career.’ Four days later, the Falkirk Herald added a brief line from his commanding officer: ‘A better soldier and a better man I never wish to meet.’ For the Great War gold memorial locket relating to the recipient’s younger brother, see Lot 569.
Five: Engineer Lieutenant J. M. Thomson, Royal Naval Reserve and Mercantile Marine British War Medal 1914-20 (Eng. Lt. J. M. Thomson. R.N.R.); Mercantile Marine War Medal 1914-18 (James M. Thomson); Victory Medal 1914-19 (Eng. Lt. J. M. Thomson. R.N.R.); Defence Medal (James M. Thomson) privately engraved; Special Constabulary Long Service Medal, G.VI.R., 1st issue (Sergt. James M. Thomson) mounted court-style as worn, good very fine (5) £70-£90 --- James Maitland Thomson was born in Aberdeen in 1890 and served as Engineer Lieutenant (Temporary) in the Royal Naval Reserve from 9 April 1918. News of his advancement soon caught the attention of The Aberdeen Daily Journal on 8 June 1918: ‘Mr. James Maitland Thomson, eldest son on the late Mr. J. Thomson, Post Office, Bridge of Don, has received a commission as Engineer-Lieutenant in the Royal Naval Reserve. Lieutenant Thomson, who served his apprenticeship with Messrs. Hall, Russell, and Co., was in the Indian Naval Transport Service, and, with the exception of a short furlough, he has been continuously engaged in conveying troops and munitions to the various fronts since the beginning of the war. He also saw service in connection with the conveyance of Indian troops to Burma in 1913. His two brothers, Robert and George, are also in the Navy.’ Thomson’s Service Record adds: ‘Commission received and returned to C in C. East Indies.’
A John Rose Coalport 'Animal Service' dessert ice pail or fruit cooler, circa 1800-1805, dark blue ground with simple gilt, painted with a circular panel of a Striped Hyena, opposed by a further roundel of a gentleman watering his horse before a large country estate, likely taken from one of the smaller engravings interspersed throughout the pages, of Bewick's Quadrupeds, complete with original liner and a cover further painted with game birds in flight and winged insects, unmarked and untitled, 26cm high See Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. See footnote for further details. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffolk, 1995) Condition:Main body of pail - Good condition with no damages or repairs. Rings well when tapped. Some minor wear to the gilding on the handles and around the rim.Pail liner - Good condition with no damages or repairs. Heavier wear to the gilt. Some scratches to the interior of the bowl. Rings well when tapped. Cover - Good condition with no damages or repairs. Some glaze crazing visible to the top and underside.
A Coalport 'Animal Service' coffee can and saucer, circa 1800-1805, painted with a 'Squirrel' (red)' to the coffee can and 'The Phalanger' (Cuscuses) to the saucer, titled in red to the bases, coffee cup 6.5cm diameter and 6cm high, saucer 14cm Note: This offers an interesting addition to what was historically known as a dessert service until the publication of Roger Edmundson and Kate Cadman's article on Charles Muss, Part 2 (Northern Ceramic Society), which includes several coffee cans and saucers held in private collection. It must also be noted that some other pieces do exist using the same source inspiration but with entirely different borders and overall grounds, including a 'Hyena' campagna vase with stylised purple scrolling and puce ground in Shrewsbury Museum and Art Gallery (SHYMS: C/2565). For further information, see the footnote section. See also Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. Provenance:Private collection, purchased in London. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffulk, 1995) Condition:5mm long hairline to rim of saucer. The Phalanger has a scratch through one foot and a small portion of the green landscape and belly. This piece also has some slight wear to the internal gilt ring. The coffee can is good condition with no damages or repairs. There is some expected handling wear to the gilding on the handle and the upper rim.
Houtte, Louis Benoît van. 59 Chromolithographien wohl aus "Flore des Serres" oder dem "Florist and Horticultural Journal". 22,5 x 9,5 cm (Darstellung) bzw 25 x 16,5 cm (Blattgröße). Um 1860.Hübsch kolorierte Blumendarstellungen von dem belgischen Botaniker Louis Benoît van Houtte (1810-1876). Enthält zum Beispiel "Leucoium Vernum", "Leptodactylon Californicum", "Lilium Canadense Flavum", "Lonicera Caprifolium Major", "Howardia Caracasensis", "Rhododendron Veitchianum", "Azal. Indica Albo-Cincta", "Amphicome Emodi", "Nicotiana Glutinosa", "Vaccinium Erythrium", "Dendromecon Rigidum", "Trichosacme Lanata", "Nierembergia Gracilis", "Colchicum Variegatum", "Cypripedium Purpuratum", etc. - Papierbedingt leicht gebräunt, vereinzelt stock- und braunfleckig und mit Randläsuren.
Lavallée, Joseph. Voyage pittoresque et historique de l'istrie et dalmatie. 3 Bl., VIII, 190 S., 1 Bl. Mit gestochenem Frontispiz, gestochenem Titel, 3 Kupferstichen im Text und 26 (von insgesamt 66; von den vorhandenen 3 gefaltete, 1 doppelseitige) Kupfertafeln von Tilbot nach Louis François Cassas. 51 x 31,5 cm. Leder d. Z. (berieben, bestoßen und Gelenke angeplatzt) mit goldgeprägtem roten RSchild und reicher DVergoldung sowie dreiseitigem Goldschnitt. Paris, Vilain, (1802).Vgl. Blackmer 296. Atabey 202. Monglond V, 1175 ff. Nebehay-Wagner 358. Cohen-Ricci 205. Ornamentenstichsammlung 1910. - Erste Ausgabe. Im selben Jahr erschien ebenfalls eine erste Ausgabe aus der Offizin von Didot. Mit schönen und gratigen Darstellungen der Halbinsel Istrien und der Region Dalmatien nach Zeichnungen des französischen Orientalisten Louis-François Cassas (1756-1827), einem Schüler von Lagrenée le jeune und Le Prince. "... visited Istria and Dalmatia in 1782 when he was commissioned by a group of amateurs, among whom was Visconti, to make drawings of the antiquities in that region. The text by Lavallée is in two parts; part i is a general history of the area, part II is edited from Cassas's journal of the voyage" (Blackmer). Die Darstellungen zeigen fantastische Ansichten, Grund- und Aufrisse und Architekturdetails antiker Bauwerke. - Vortitel und weitere Blätter etwas feuchtrandig, leicht stockfleckig, sonst wohlerhaltenes Exemplar.
Lallemand, Charles. La Forêt Noire. Études, impressions & Voyages sur les bords du Rhin. 2 Bl., 120 S., 1 Bl. Mit 21 fest montierten Original-Albumin-Fotografien als Titel- und Schlussvignette sowie auf 19 Tafeln. 28,5 x 23 cm. Halbleder des späten 19. Jahrhunderts (berieben und bestoßen) mit goldgeprägtem RTitel, RVergoldung und dreiseitigem Goldschnitt. Paris, Librarie du Petit Journal, (1866).Nicht bei Heidtmann. - Eines von 210 nummerierten Exemplaren (Gesamtauflage). Die Fotos zeigen überwiegend Schwarzwälder in traditionellen Trachten. Auf dem Titel eine montierte Ansicht von der Lichtentaler Allee in Baden-Baden. Lallemand (1826-1904) war ein recht umtriebiger und geschäftstüchtiger Journalist, Zeichner und Maler, der unter vielen Projekten auch eine fotografische Galerie plante und zusammen mit dem Fotografen Hart in die Tat umsetzte. Im Elsaß, in Baden, Württemberg und in der Schweiz hielten er das Alltagsleben der ländlichen Bevölkerung fest und verkauften die Aufnahmen einzeln oder in Journalen und Publikationen wie der hier vorliegenden. - Etwas stock- und fingerfleckig, die Fotografien auf rechteckigem, papiergebräuntem Grund montiert.
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