Dominic Winter

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ISLAMIC, INDIAN & ORIENTAL ART PHOTOGRAPHY 1850-2000 17 APRIL 2015

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS

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Lot 378 • Front Cover: Lot 183 • Back Cover: Lot 370

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Dominic Winter SPECIALIST AUCTIONEERS AND VALUERS All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom.

A buyer’s premium of 19.5% of the hammer price is payable by the buyers of all lots, except those lots asterisked, in which case the buyer’s premium is 23.40% Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium

ISLAMIC, INDIAN & ORIENTAL ART Friday 17 April 2015 Lots 1 - 192 commencing at 11am

Followed by

PHOTOGRAPHY 1850-2000 Lots 201 - 426 commencing at 1.30pm

Viewing: Thursday 16 April, 9am-6pm and morning of sale from 9am Other times strictly by appointment

Payment may be made while the sale is in progress: please see the cashier in the auction office.

Customers are asked to pay cash or establish a credit reference with the Auctioneers prior to the sale.

Please ensure that all commission bids reach us by 10am on the morning of sale.

Telephone bids only accepted for lots with estimated value greater than £300 and should reach us by 9am on morning of sale Results will be posted on our website immediately after the sale.

Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 www.dominicwinter.co.uk

Fax: 01285 862461 info@dominicwinter.co.uk

For directions on how to find us, please refer to map at rear of this catalogue

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Battle of Trafalgar Broadside. Britannia Triumphant. The Most Decisive and Glorious Naval Victory That Ever was Obtained Since the Creation of the World!! Printed by R. Edwards for E. Kent and Son, [1805], 44.5 x 56cm (17.5 x 22ins) Estimate ÂŁ400-600 (Military, Aviation & Naval History Sale: 15 May)

FORTHCOMING SALES Saturday 18 April

Fine Antiques & Interiors including the collection of Robert Hardy, actor

Wednesday 13 May

Printed Books, Maps & Documents Science, Medicine & Cookery

Thursday 14 May

Motoring, Aviation, Maritime & Railway History: Models, Toys, Books & Documents, Fine Art

Friday 15 May

Battle of Waterloo Bicentenary Sale: Military History, Arms & Armour, Militaria, Stamps & Coins

Wednesday 10 June

Printed Books, Maps & Documents Natural History, Sporting & Wildlife

Thursday 11 June

Children’s & Illustrated Books Modern First Editions

Wednesday 15 July

Printed Books, Maps & Documents Early Printed Books & Incunables

Thursday 16 July

Paintings & Watercolours, Old Master & Modern Prints Antique Furniture, Silver & Collectables

Entries are invited for the above sales: please contact one of our specialist staff for further advice

Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 www.dominicwinter.co.uk

Fax: 01285 862461 info@dominicwinter.co.uk

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CONTENTS Classical & Contemporary Chinese Paintings 1-36 Oriental Ceramics & Works of Art 37-84 Traditional & Modern Japanese Prints 85-140 Oceanic Art 141-144 Islamic, Indian & Oriental Art Reference 145-151 Middle & Far Eastern Manuscripts 152-163 Islamic & Indian Miniature Paintings 164-186 Near & Middle Eastern Antiques 187-192 Photography 1850-2000 201-426

Specialists in Charge: Matthew Farren (Islamic, Indian & Oriental Art) Chris Albury (Photography)

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CLASSICAL & CONTEMPORARY CHINESE PAINTINGS To commence at 11am

Lot 1

Lot 2

1* Anglo-Chinese School. An interior scene showing Han Chinese visitors at a Buddhist altar, circa 1870, pen, ink and watercolour, heightened with gilt and bodycolour, on wove paper, early manuscript caption pasted to upper margin, central vertical fold, image size 38 x 42.5cm (15 x 16.5ins) (1)

£200-300

2* Anglo-Chinese School. Pair of Hong Kong Street Scenes, circa 1950s, watercolour, signed Ling to lower right corner, 52 x 37cm (20.5 x 14.5ins) mount aperture, framed and glazed (2)

£200-300

3* Anglo-Chinese School. Ancestor portraits, mid 19th century, a pair of gouache on rice paper, showing an elderly man with his attendant and his wife, both cracked and torn with loss, 30 x 19cm (12 x 7.5ins), together with seven similar paintings on rice paper showing trades and professions (9)

£150-200

4* Manner of Ren Bonian (1840-1896). Bird and bamboo, late Qing dynasty, early 20th century, watercolour and gouache on gold silk, trimmed and mounted on later silk, 34 x 28cm (13.25 x 11ins), framed and glazed (1)

£150-200

Lot 4

5

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5* Attributed to Giuseppe Castiglione (Lang Shi’ning, 16881766). Menagerie of deer, birds and plants, Qianlong period, Qing dynasty, mid 18th century, watercolour on silk, indistinct artist’s signature and seals to upper left corner, and short inscription in neat running script, creased where previously rolled, 42 x 156cm (16.5 x 61.5ins), framed and glazed The Jesuit missionary and artist Giuseppe Castiglione (1688-1766) arrived on a mission to China in 1715, and was quickly taken up by the Emperor Qianlong as a consort artist, producing portraits of him and his concubines as well as landscapes and animal paintings that combine both Chinese and Western styles.

(1) £10000-15000

6

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7

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6* Chinese Rubbings. A collection of five large scale rubbings of Chinese Luohan, Bodhisattva and calligraphy, late Qing, black ink on fine paper laid down, 58 x 77cm (23 x 30ins) and similar (5)

£150-200

7* Chinese School. Peony Garden, Republic Period, early 20th century, hanging scroll, watercolour and gouache on silk, calligraphic inscription in running script and two artist’s seals to upper left corner, mounted on ivory silk, paper label to verso, 117 x 53cm (46 x 21ins) image size, 181 x 64cm (71 x 25ins) overall (1)

£300-500

8* Chinese School. Butterfly visits white roses, Republic period, early 20th century, hanging scroll, watercolour on silk, short calligraphic inscription in running script and artist’s seal to upper right corner, mounted on ivory silk scroll with wooden baton to foot, paper label to verso, 84 x 37cm (33 x 18.5ins) image size, 176 x 51cm (69 x 20ins) overall (1)

£100-150

Lot 7

9* Chinese School. Calligraphy over clouds and bats, late Qing dynasty, late 19th century, a pair of hanging scrolls, watercolour and ink on paper, mounted on patterned silk, wooden baton to foot, some repairs to verso, each 168 x 39cm (66 x 15.5ins) image size, 183 x 43cm (72 x 17ins) overall

Lot 8

Provenance: Hector Monro, Langholm, Scotland.

(2)

8

£100-150

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Lot 10

Lot 12

Lot 13

Lot 14

10* Chinese School. Portrait of a seated boy emperor, early 20th c., opaque watercolour on silk, artist’s red inkstamp top left, a couple of small spots, within patterned silk border, 45 x 25.5cm (17.75 x 10ins), framed and glazed (1)

£100-150

11* Chinese School. Four rural scenes, Post-Revolution, 20th century, watercolour on silk, each signed and sealed to upper corner, 34 x 12cm (13.25 x 5ins) image size, mounted on silk, framed and glazed (4)

£100-150

12* Chinese School. Mallards in the Bamboo, Republic Period, mid 20th century, watercolour on silk, artist’s seals and short inscription, 66 x 28cm (26 x 11ins), framed and glazed (1)

£100-150

13* Chinese School. Priest with incense, early 19th century, wall scroll in watercolour, heightened with gold, later mounted on silk with bone footer baton, creased with some wear to mount, image size 25 x 48cm (10 x 19ins), overall dimensions 36 x 122cm (14 x 48ins) (1)

£80-120

15* Chinese School. Ducks in flight over bamboo fields, circa 1960s, watercolour on paper, artist’s signature and seal to right edge, further seal to upper left corner, 54 x 59.5cm (21 x 23.5ins), framed and glazed

14* Chinese School. Rooster with his family, Republic period, early 20th century, watercolour and gouache on silk, artist’s signature and seal to lower right corner, 117 x 34cm (46 x 13.25ins) aperture size, framed and glazed (1)

(1)

£150-200

9

£400-600

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16 Chinese School. An album of twelve watercolours of birds on pith paper, early 19th century, including pheasants and other exotic or colourful birds with floral backgrounds, a few scattered chips and spots, 15 x 22cm (6 x 8.75ins), blue silk borders laid on, contemporary decorative moire cloth with tie, a little rubbed, oblong small folio (1)

ÂŁ700-1000

Lot 16

17 Chinese School. An album of twelve watercolours of tradespeople on pith paper, early 19th century, each with multiple figures of tradespeople and customers, etc., including meat, fish, fruit, duck and other delicacies, some spots and minor chips, one with vertical split, blue paper borders, 18 x 26cm (7 x 10.25ins), partly loose in contemporary patterned boards with tie, rubbed and wear to spines and edges, oblong folio (1)

Lot 17

10

ÂŁ700-1000

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18* Chinese School. Ancestor portrait, late 18th century, watercolour and gouache on paper, 130.5 x 75.5cm (51.5 x 29.75ins), mounted on later wall scroll, overall size 173 x 83cm (68 x 32.75ins) (1)

£300-500

20* Chinese School. Mountain Lakes, Republic Period, early 20th century, a pair of brush and ink with watercolour on hand-made paper, artist’s signature and seal to upper right corner, 20 x 28.5cm (8 x 11.25ins) mount aperture, glazed and framed together (1)

£300-500

19* Chinese School. The Fishing Party, 19th century, watercolour and gouache on silk, mounted on later silk, 79 x 40cm (30 x 16ins) image size, framed and glazed

21* Chinese School. Scholar reading by the roadside, late 18th century, watercolour on silk, later silk mounts, 28 x 34cm (11 x 13.25ins), framed and glazed

From the collection of Roy Davids.

(1)

(1) £300-500

11

£100-150

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22* Chinese School. Mountainscape, Republic Period, early 20th century, brush, ink and watercolour on silk mounted on paper, running script inscription to right side, pencil inscription and Munich trade-stamp to verso, 30 x 48cm (12 x19ins) mount aperture, framed and double-glazed (1)

£300-500

23* Chinese School. The Birdseller, Post Republic Period, mid 20th century, wall scroll, brush, ink and watercolour on paper, artist’s signature and seals, 142 x 39cm (56 x 15.25ins) (1)

£70-100

24* Chinese School. Artists in the scholar’s garden, Post-Republic period, 20th century, a pair of fan paintings, watercolour on silk, showing a female musician playing a flute and a female scholar with a brush and ink pot, each with artist’s seal and inscription, width 60cm (23.5ins) and similar, mounted on silk, framed and glazed (2)

Lot 27

£150-200

25* Chinese School. The liuqin player, Qing dynasty, mid 19th century, wall scroll, pen, ink and gouache on paper, showing a fulllength portrait of a seated lady playing a four-stringed Chinese mandolin, large vertical tear to upper part of image without loss, 120 x 56cm (47.5 x 22ins) overall, mounted with wooden baton to foot, together with other similar Chinese wall scrolls, including landscapes, literati paintings and others (9)

£200-300

26 No lot 27* Chinese School. A portrait of a Qing dynasty Manchu warrior from the Eight Banners army, 19th century, gouache on rice-paper, slight marginal worming to upper edge, 23.5 x 15cm (9.25 x 6ins), framed and glazed, together with another gouache on rice-paper, depicting a Chinese nobel man and his wife, framed and glazed, plus another similar, with the figures cut out and pasted onto later board, framed and glazed (3)

£200-300

28* Manner of Gao Jin (1634-1708). Mountain landscape with pines, late Qing dynasty, late 19th century, watercolour on silk, 54 x 37.5cm (21.25 x 14.75ins), together with three similar watercolours (4)

£200-300

Lot 28

12

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29* Longhua, 20th century. Standing nude, Post-Republic period, watercolour on paper, showing a female nude from behind, signed lower right, 75 x 51cm (29.5 x 20ins), framed and glazed Provenance: Purchased by the current owner from the collection of a Hong Kong financier.

(1)

13

ÂŁ2000-3000

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Lot 30 30* Circle of Zhang Xiong (1803-1886). Bird on cherry branch, 19th century, fan leaf, watercolour and gold paint on paper, artist’s signature and seal to upper left, some few small holes and little loss to edges, laid down and mounted onto later silk, 52cm (20.5ins) wide, framed and glazed (1)

31* Circle of Zhang Xiong (1803-1886). Bird and prunus blossom, 19th century, fan leaf, watercolour and gold paint on paper, few small holes and a little loss to edges, laid down and mounted onto later silk, 52cm (20.5ins) wide, framed and glazed (1)

ÂŁ150-200

Lot 31

14

ÂŁ150-200

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Lot 32

32* Circle of Zhang Xiong (1803-1886). Birds amongst blossom, 19th century, fan leaf, watercolour and gold paint on paper, few small holes and a little fraying to edges, laid down and mounted onto later silk, 52cm (20.5ins) wide, framed and glazed (1)

£150-200

33* Yang Gui. Woman with noodle bowl, 20th century, brush and ink on board, signed lower left, 60 x 45cm (25.5 x 17.75ins), framed (1)

£100-150

34* Chinese School. Sparrows in the bamboo, Post Republic period, 20th century, watercolour on silk, showing sparrows in flight, artist’s seals lower right, 56 x 38cm (22 x 16ins), laid down, together with seven other similar watercolours (8)

£100-150

35* Chinese Watercolours. A collection of oriental watercolours, mainly Post Republic period, 20th century, including a landscape scene with red maples, 45 x 55cm (17.75 x 21.5ins) and similar, mostly framed and glazed (8)

36 No lot

Lot 33

15

£150-200

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ORIENTAL CERAMICS & WORKS OF ART

37* Buddha. A pair of Thai, Sukothai style bronze figures of Buddha Shakyamuni, 15th century-style, cast bronze, seated in virasana on a pedestal, his right hand in bhumisparshamudra, the left resting on his lap, wearing samghati, curled hairdress and usnisha, overall patina commensuratewith age, 13cm (5ins) high (2)

40* Chinese Bronze. Door knocker, Warring States period style, cast bronze, decorated with dragons, 17cm (7ins) long (1)

41* Chinese Bronze. Shroud weight in the form of a shi or temple lion, Tang style, cast bronze, incised decoration, overall verdigris patina, 5cm (2ins) high

£200-300

(1)

38* Buddha. Six cast bronze Buddha’s heads, Thailand, gilded cast bronze, mounted on modern stands, 19cm (7.5ins) high and similar (6)

£1000-2000

42* Chinese Export Ware. A large Chinese Export porcelain mug decorated with a large vignette of figures on a terrace, late 19th century, underglazed blue wth polychrome painted decoration, crazing to interior, some old discreet restoration, 13.5cm (5.25ins) high

£200-300

39* Chinese Dish. A large Chinese dish, decorated with pagoda under pine trees, early 20th century, underglazed blue decoration to interior and exterior, enamelled in brown and greens, heightened in gilt, three character mark to base, some wear to gilt rim, 42cm (16.5ins) diameter (1)

£400-600

(1)

£80-120

16

£150-200

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Lot 41

Lot 43

Lot 44

43* Chinese Figure. A Chinese earthenware tomb figure, Tang style, stylised features, some traces of pigments remaining, restored, 46cm (18ins) high (1)

ÂŁ300-500

Lot 45

44* Chinese Vase. A Chinese porcelain footed vase, decorated in orange with two vignettes of scholars, Yongzheng mark but later, iron red decoration, six character mark in underglazed blue to base, 22cm (8.75ins) high (1)

ÂŁ200-300

45* Chinese Vase. Bottle vase, Republic period, early 20th century, ceramic case with textured decoration in the form of lotus petals, all-over celadon crackle glaze, impressed mark to base, 27cm (10.5ins) high, contained within contemporary wooden case (1)

17

ÂŁ300-500

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48* Jade A Chinese white jade carving, late Qing period, early 20th century, carved white jade, in the form of sprays of lingzhi creating Ruyi sceptres, 8.5cm (3.5ins) long (1)

£100-150

49* Japanese Bowl. A large Japanese porcelain bowl, decorated with flowers and butterflies, 19th century, underglazed blue and polychrome decoration, six character mark to base, 53.5cm (21ins) diameter (1)

£1000-1500

46* Chinese Hat Finial. Reverse-painted glass hat finial, possibly Macao, Republic Period, early 20th century, reverse-painted clear glass, 4cm (1.5ins) high (1)

£200-300

50* Japanese Bronze. Three bronze jardiniere, Meiji period, early 20th century, patinated cast bronze, in the form of baskets decorated with ivy, butterflies and other insects, each signed to base, interior oxidised and patinated commensuratewith age, height 13cm (5ins) and slightly smaller (3)

47* Fan. A carved ivory fan, Chinese, c.1790, a pierced and carved ivory brisé fan, with overall floral and bird decoration, a central shield monogrammed ‘AB’, and flanking circular motifs featuring pagodas, with an oval below featuring a Chinese garden, the sticks joined with cream silk ribbon, carved ivory guardsticks, 26cm (10.25ins), mounted on yellow silk in a glazed gilt box (1)

£400-600

18

£500-700

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Lot 49

19

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53* Korean Pottery. A fragment of a Korean pottery charger, 14/15th century, celadon glazed, decorated with fish and scrolls, painted scrolls to base, 18cm (7ins) wide, mounted in later frame (1)

£100-150

51* Japanese Bronze. Censer with dragon decoration, Meiji period, late 19th century, patinated cast bronze, moulded decoration showing a dragon through clouds over crashing waves, raised on three serpentine supports, two character mark to base, some erosion with loss to shoulder, 26cm (10ins) high (1)

£300-400

54* Netsuke. A Japanese carved ivory netsuke in the form of a hare, Meiji period, late 19th century, carved ivory, pierced for suspension, indistinctly signed to base, 270mm high, together with a similar carved ivory netsuke in the form of a terrapin, plus another carved ivory netsuke of a figure holding a fan (small chip to base), and another simulated ivory netsuke

52* Japanese Bronze. Lotus bowl, Meiji period, early 20th century, patinated cast bronze, in the form of a lotus leaf bowl surrounded by lotus buds, moulded and incised decoration, 20cm (8ins) diameter (1)

(4)

£200-300

20

£200-300

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55* Okimono. A Japanese stag antler carving, probably late Meiji period, depicting a rhino chased by a tiger with a monkey hanging on to the tiger’s tail, a large python is seen to be entwined and holding back the rhino at gallop, all detail neatly incised with charcoal stain and traces of coloured polychrome, 12.5cm long on ebonised stand (1)

£150-200

56* Chinese Vase. A Chinese carved wood jardinière stand decorated with prunus pattern, early 20th century, carved and stained hardwood, five carved legs, 79cm (31ins) high, together with a large baluster vase with inverted rim, decorated with pale blue crackle glaze, 20th century, 68cm (27ins) high (2)

£100-150

57* Snuff Bottle. Zhiting School. A Chinese carved agate snuff bottle, decorated with taotie masks, Qianlong period, Qing dynasty, later 18th century, carved agate, coral stopper, gilt bronze collar, 9cm (3.5ins) high (1)

£400-600

58* Vases. A Chinese meiping vase & two similar bottle vases, Post-Republic period, 20th century, purple and gold flambe glaze, height 17cm (6.75ins) and similar, turned wood stands (3)

Lot 58

£80-120

60* Indian School. Unloading the boats, probably Goa, 20th century, watercolour on embossed patterned paper, signed lower edge, 45 x 65cm (17.75 x 25.5ins), mount aperture, framed and glazed

59* Yixing Teapots. A group of four Chinese Yixing clay teapots, 20th century, including a round teapot of purple clay, moulded bamboo form handle, spout and lid, incised decoration of flowering prunus and short inscription, impressed seal script mark to base, small chip to lid, 10cm (4ins) high (4)

(1)

£200-300

£150-200

Lot 57

Lot 60

21

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Lot 61

61* Indonesian School. Coastal scenes, mid 20th century, a pair of oils on canvas, one signed and dated lower left, 32 x 64.5cm (12.5 x 25.5ins), framed and glazed (1)

£300-500

62* Japanese School. “The Sparrow Hunt”, two cats climbing a tree in pursuit of six sparrows, Taisho period, early 20th century, hanging scroll, watercolour on silk, artist’s seal to lower left, mounted on beige silk, laid down onto board, few marginal chips, 89 x 43cm (35 x 17ins) image size, 111 x 53cm (43.5 x 21ins) overall (1)

£100-150

63* Japanese School. Junks off the shore, 20th century, watercolour, signed Kano to lower left corner, 22 x 63cm (8.75 x 25ins) mount aperture, framed and glazed (1)

£80-120

Lot 62

22

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Lot 65

Lot 66

Lot 67

65* Follower of Suzuki Kiitsu (1796-1858). A hanging scroll decorated with eight species of birds (cockatoo, magpie, jay, partridge or Japanese quail?), late Meiji period, early 20th century, watercolour on silk, some slight water-staining, 153 x 40.5cm (60 x 16ins) (1)

£300-500

66* Kobayashi (Tokusaburo, 1884-1949). Willow over the jetty, watercolour on paper, signed lower right, 51 x 34cm (20 x 13,25ins), together with Village Street, watercolour on paper, signed lower right, a little toned, 48.5 x 67cm (19 x 26.5ins), plus White sails on the lake, watercolour on card, signed lower right, 33 x 49.5cm (13 x 19.5ins) mount aperture, plus other similar watercolours by various hands (10)

67* Kobayashi (Tokusaburo, 1884-1949). Red maple beside pond, watercolour on paper, signed lower left, 32.5 x 16.5cm (13 x 6.5ins), together with two similar signed watercolours by Kobayashi, both mounted

64* Japanese School. Red bridge over river, 20th century, watercolour, signed Shinto to lower right, 24 x 32cm (9.5 x 12.5ins) mount aperture, framed and glazed, together with another similar Japanese watercolour showing figures on a mountain road (2)

£300-400

(3)

£100-150

23

£200-300

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70* Sutopo (1952-). Landscape, 1980, acrylic on paper, signed and dated Jakarta ‘80 lower right, 50.5 x 70cm (20 x 27.5ins), framed and glazed, together with three other watercolours by a contemporary Indonesian artist, 38 x 55.5cm (15 x 21.75ins), framed and glazed (4)

£150-200

71* Thai Rubbing. Benjakaya carrying offerings, probably from the walls of Tat Po, Thailand, 18th century, black ink on laid paper, 46 x 44cm (18 x 17ins) For similar examples see Harvard Museums, 1960.4.62.

(1)

£100-150

68* Lafugie (Lea, 1890-1970). Flower market, possibly Paris, watercolour and gouache, showing flower stalls with figures, and buildings in the background, signed to lower margin, 41.6 x 26.2cm (16.5 x 10.25ins), framed and glazed Lea Lafugie was born in France and at the age of 16 she entered the École des Arts Décoratifs de Paris. In 1925 she began travelling the world, first to Sri Lanka, then India, where she held many exhibitions and painted portraits of Mahatma Gandhi and the poet Rabindranath Tagore. She subsequently travelled to Tibet, Southeast Asia, China, and Japan.

(1) £80-120

69* Nihonga School. Crow and Red Maple, Meiji period, circa 1890, watercolour on silk, artist’s signature and seal to lower right corner, framed and glazed

72* Tibetan School. Red Tara, Yidam of Bountifulness, Central Tibet, late 18th or early 19th century, colour pigments on cotton, near contemporary wall scroll mount with cover, 47 x 34cm (14.5 x 13.25ins) image size

(1)

(1)

£300-500

24

£300-500

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74* Tibetan School. Thangka showing buddha seated in the adamantine position on a lotus throne supported by female figures, Tibet, 19th century, watercolour and gouache on silk, laid down onto later board, 67.5 x 44cm (26.5 x 17.25ins) (1)

£200-300

73* Tibetan School. Pair of vajrayana buddhist thangka of dharmapala, 19th century, gouache, mounted onto later wall scrolls, image size 60 x 33.5cm (23.5 x 13ins)

75* Tibetan School. Mandala thangka showing scenes from the life of the Buddha, late 19th/ early 20th century, colour pigment on cloth, 77 x 56cm (30.5 x 22ins), framed and glazed

(2)

(1)

£300-500

25

£200-300

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76* Tibetan School. Amoghapasha, with four secondary figures, Tibet, 19th century, large thangka, colour pigments on cotton, showing the twelve-armed Amoghapasha seated in the lotus position, some surface rubbing and short closed tear to lower edge, creased where previously rolled, 140 x 102cm (55 x 40ins) (1)

78* Tibetan Thangka. A painted Tibetan Thangka, late 19th century, opaque watercolour on cloth, heightened with gold, some minor creases and surface marks to margins, overall size 131 x 95cm (51.5 x 37.5ins) (1)

79* Tibetan Thangka. A painted Tibetan Thangka, late 19th century, opaque watercolour on cloth, few minor marginal creases, overall size 115 x 91cm (45.25 x 35.75ins)

77* Tibetan School. Shakyamuni Buddha with nine secondary deities, Tibet, 19th century, colour pigments on cotton, some slight rubbing, creased where previously rolled, 127 x 90cm (50 x 35.5ins) (1)

£200-300

£300-500

(1)

£300-500

26

£200-300

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82* Wai Man (Chen, active 20th century). Portrait of a woman, 20th century, crayon on paper, heightened with silver, 101 x 100cm (40 x 39.5ins) mount aperture, framed and glazed (1)

£300-500

80* Tibetan Thangka. A painted Tibetan Thangka, late 19th century, opaque watercolour on cloth, heightened with gold, overall size 130 x 93cm (51 x 36.5ins), some minor marginal creases (1)

£200-300

83* Tibetan School. Chingkarwa, Tibet, 18th century, thangka, coloured pigments on cloth, showing the worldy protector astride a horse, with two secondary figures below, slightly faded and a little rubbed, 32 x 23cm (12.4 x 9ins), together with another similar thangka showing Shakyamuni Buddha together with five secondary figures, plus a collection of other oriental works of art including Chinese watercolours on paper and a printed wall scroll

81* Tibetan Thangka. A painted Tibetan Thangka, late 19th century, opaque watercolour on light canvas cloth, heightened in gold, edged with blue silk, overall size 164 x 109cm (64.5 x 43ins), some light surface marks and minor creases (1)

(a carton)

£300-500

84 No lot

27

£150-200

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TRADITIONAL & MODERN CHINESE PRINTS

86* Bairei (Kono, 1844-1895). Part album of studies of birds, thirtysix leaves, oban nishiki-e tate-e, colour woodblock prints, showing studies of birds and plants, 35 x 24.5cm (13.75 x 9.5ins), disbound with original covers preserved (36)

87* Eisho (Narazaki, 1864-1936). Inside Asakusa Temple, first issue, published by Watanabe, March 1932, oban nishiki-e tate-e, colour woodblock print, artist’s signature and seal to lower right, publisher’s seal to left margin, title and date to right margin, a little toned overall, tipped onto contemporary card, sheet size 39 x 26cm (15.25 x 10ins)

85* Manner of Yamamoto Baiitsu (1783-1856). Cherry blossom and nandina berries, 19th century, watercolour and gouache on silk, artist’s signature and seals to lower left corner, few small holes (not affecting image) repaired to verso, 66 x 37cm (26 x 14.5ins) mount aperture, framed and glazed (1)

£150-200

£200-300

(1)

28

£150-200

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Lot 86

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88 Furuya (Korin, editor). Shin-Bijutsukai, The New Monthly Magazine of Various Designs by the Famous Artists of Today, 58 original monthly issues, Kyoto; Yamada Geikido, circa 1900, titles in English, remainder of text in Japanese, approximately 2000 woodblock prints, mostly printed in colour, showing designs for papers and textiles, some heightened with gold and silver, some folding, all with original printed wrappers and silk ties, each 24 x 16.5cm (9.5 x 6.5ins) The Japanese design magazine Shin-Bijutsukai was edited by the illustrator and designer Korin Furuia (1875-1910), and ran monthly from 1902 onwards. The designs by various artists show the influence of Art Nouveau on native Japanese artists.

(58) ÂŁ5000-7000

30

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31

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91* Hasegawa (Shoichi, 1929-). Le Petit Train, (The Little Train), colour aquatint with stopping-out, signed, titled and numbered 27/110 in pencil to lower margin, plate size 59 x 48cm (23.25 x 19ins), framed and glazed

89* Gekko (Ogata, 1859-1920). Four scenes from Fujin fuzoku zukushi (Manners and Customs of Ladies), circa 1891, four oban colour woodblock prints, artist’s signature and seal to each, all with print and series title, one with slight fading, 23.5 x 35cm (9.25 x 14ins), framed and glazed (4)

(1)

£200-300

92* Hasegawa (Shoichi, 1929-). Festin Etrusque, (Etruscan Feast), colour aquatint with stopping-out, signed, titled and numbered 63/110 in pencil to lower margin, plate size 59 x 48cm (23.25 x 19ins), framed and glazed

90* Hasegawa (Shoichi, 1929-). Le Royaume des perles (The Kingdom of the Beads), colour aquatint with stopping-out, signed, titled and numbered 75/110 in pencil to lower margin, plate size 59 x 49cm (23.25 x 19.25ins), framed and glazed (1)

£100-150

(1)

£100-150

32

£100-150

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93* Hasegawa (Shoichi, 1929-). Hymme a la joie (Hymn to joy), colour aquatint with stopping-out, signed, titled and numbered 86/110 in pencil to lower margin, 48 x 59cm (19 x 23ins), framed and glazed (1)

£100-150

94* Hasui (Kawase Bunjiro, 1883-1957). Shiba Benten Ike (Shiba Benten Pond), posthumous edition published by Shobisha, oban nishiki-e yoto-e, colour woodblock print, captioned to lower margin, sheet size 27.5 x 40.5cm (10.75 x 16ins), together with another similar print by Hasui (2)

£200-300

95* Hasui (Kawase Bunjiro, 1883-1957). Hatakudari Hotsprings in Shiobara, published by Watanabe Shozaburo, 1918, nagaban nishikie tate-e, colour woodblock print, artist’s signature and seal to lower right, publisher’s mark to lower left, sheet size 48 x 18cm (19 x 7ins), framed and glazed Rare. Hasui’s second print, the plates were lost in the devestating Kanto earthquake 1 September 1923.

(1) £1000-1500

Lot 95

33

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96* Hiroshige (Ando, 1797-1858). Fifteen views from the series Gojusan tsugi meisho zue (Pictures of Famous Places on the Fifty Three Stations), 1855, together fifteen vertical oban colour woodblock prints, with titles printed on a red banner, signed Hiroshige ga, with publisher’s mark of Tsutaya Kaichizo, Aratame censor’s seal and date seal U-shichi [1855], several sheets conjoined, most with central vertical crease (one detached along central crease), a few with some marginal damage, several prints cropped to image, sheet size 360 x 240 mm (14.2 x 10.25ins) (15)

£200-300

97* Hiroshige (Ando, 1797-1858). Hiratsuka, from the Fifty-three Stations of the Tokaido, 1841, slightly later impression, oban nishiki-e yoko-e, colour woodblock print, title, artist’s signature and censor’s seal, 22 x 33cm (8.75 x 13ins) mount aperture, framed and glazed, together with another similar woodblock by Hiroshige Not examined out of frame.

(2)

£100-150

Lot 99

98* Hiroshige (Ando, 1797-1858). Hamamatsu, from Fifty-three Stations of the Tokaido, Takamizawa edition published by Chuokoron Bijutsu Shuppan, Tokyo, oban nishiki-e yoto-e, colour woodblock print, 21.5 x 34cm (8.5 x 13.25ins) mount aperture, framed and glazed Not examined out of frame.

(1)

£80-120

99* Hiroshige (Ando, 1797-1858). Red Maple at Mama, from the series Meisho Edo Hyakkei (One Hundred Famous Views of Edo, 1857, later edition, oban nishiki-e tate-e, colour woodblock print, title and artist’s signature, publisher’s mark and censor’s seals to left margin, tipped onto later card mount, sheet size 36.5 x 25cm (14 x 10ins), together with two other Hiroshige prints (3)

£100-150

100* Hiroshige (Ando, 1797-1858). Sandals at Takagata, oban nishiki-e tate-e, colour woodblock print, artist’s signature, publisher’s mark, censor’s seal, some surface rubbing and slight loss to lower right corner, 33.5 x 23cm (13 x 9ins) (1)

£100-150

Lot 100

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103* Hokusai (Katsushika, 1760-1849). Fuji seen from Mishima Pass, Fujimi Fuji viewed from field in Owari Province & Kajikazawa in Kai province, from the series Thirty-six Views of Mount Fuji, circa 1826, together three, oban yoke-e nishiki-e, colour woodblock prints, early 20th century issues, each with artist’s signature and print title to upper left corner, 24.5 x 37cm (9.75 x 14.5ins) mount aperture, all framed and glazed (3)

£200-300

101* Hoda (Nishimura, flourished 1930s). Gold Banded Lilies, oban tate-e nishiki-e, colour woodblock print on laid paper, artist’s signature and publisher’s seal to right margin, made in Japan stamp to verso, 39.5 x 26cm (15.5 x 10.5ins), together with another woodblock print of chrysanthemums behind a screen (2)

£80-120

102* Hokusai (Katsushika, 1760-1849). Memorial stone for the poetess Ono no Mokachi, from the series Pictures of Edo, 1803, koban tate-e nishiki-e, colour woodblock print on fine laid paper, slight marginal worming (repaired to verso), 21.5 x 16cm (8.5 x 6.25ins)

104* Kotozuka (Eiichi, 1906-1979). Studies of bamboo, published

by Uchida, 1960, pair of oban nishiki-e tate-e, colour woodblock prints, each with artist’s seals to lower corners, slight spotting to one image, 39 x 26cm (15.25 x 10.25ins) mount aperture, framed and glazed, together with another Japanese colour woodblock print showing fishermen on a river

(1)

(3)

£80-120

35

£150-200

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105* Japanese Prints. Warriors under the battle-flag, oban nishiki-e tate-e, colour woodblock print, left-most panel from a triptych only, 37 x 24cm (14.5 x 9.5ins), framed and glazed, together with another similar (2)

£200-300

107* Kaigetsudo School. Bijin adjusting combs, early 20th century, watercolour on silk, artist’s signature and seal to lower left corner, 99 x 42cm (39 x 16.5ins), framed and glazed, together with a similar unsigned watercolour on silk showing two bijin dressing behind a folding screen (2)

£150-200

108* Katase (Kazuo (1947)). Mountain Village in Snow, 1977, colour woodblock print on wove paper, pencil signed and dated (Japanese and English) to margin amd numbered 37/45, 36.5 x 48cm (14.5 x 19ins) together with Abstract Textures, 1977 colour woodblock print on wove paper, pencil signed and dated, Japanese and English, in margin, numbered 23/45 35.5 x 47cm (14 x 18.5ins) Katase was born in Shizuoka, but moved to Kassel, Germany in 1975. He is best known for his contemporary works in the Western tradition.

(2) £80-120

109* Kawarazaki (Shodo, 1889-1973). Yellow Roses, aiban tate-e nishiki-e, colour woodblock print, artist’s seal to lower left corner, 36 x 23.5cm (14 x 9.24ins) mount aperture, framed and glazed (1)

110* After Torii Kiyonobu I (1664-1729). Bijin with kimono, later impression, hosoban nishiki-e tate-e, colour woodblock print, 33 x 13cm (13 x 5ins), marbled mount, framed and glazed

106* Japanese Prints. Three warriors, oban nishiki-e tate-e, colour woodblock print, left-most panel from a triptych only, 37 x 24cm (14.5 x 9.5ins), framed and glazed, together with another similar (2)

£100-150

(1)

£200-300

36

£150-200

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Lot 109

111* Koitsu (Tsuchiya, 1870-1949). Lake Kawaguchi at the foot of Mt. Fuji, published by Tokyo Hanga-in, Showa period, 1938, oban tate-e nishiki-e, colour woodblock print on wove paper, artist’s signature and seal to lower right corner, title and date to right margin, publisher’s mark to left margin, date and title given in English to upper margin, 40 x 27cm (16 x 10.5ins) (1)

£200-400

112* Konen (Uehara, 1878-1940). Sampan at night, hosoban yokoe nishiki-e, colour woodblock print, artist’s seal, 11 x 37cm (4.5 x 14.5ins), together with nine other Japanese woodblock prints (10)

Lot 110

37

£150-200

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113* Koson (Ohara, 1877-1945). Wagtail on a Lotus, published by Watanabe, circa 1915, o-hosoban tate-e nishiki-e, colour woodblock print on laid paper, artist’s signature and seal to lower left corner, Made in Japan and No. 557 stamped to verso, 38.5 x 17.5cm (15.25 x 7ins) (1)

£200-300

114* Koson (Ohara, 1877-1945). Cawing Crow, circa 1910, oban nishiki-e tate-e, colour woodblock print, artist’s signature and seal to lower left, 40.5 x 26cm (16 x 10ins) mount aperture, framed and glazed (1)

£150-200

Lot 113 115* Kunisada (Utagawa, 1786-1865). Portrait of an actor, oban tate-e nishiki-e, colour woodblock print, artist’s signature, censor’s seal, 36 x 25.5cm (14 x 10ins), together with Chikanobu (Toyohara, 1838-1912), Lady in waiting hands the noh mask to an actor, two leaves from triptych, tate-e nishiki-e, heightened with silver, 35 x 47.5cm (14 x 18.75ins), plus other Japanese woodblock prints including portraits of bijin (11)

£300-500

116* Kunisada (Utagawa, 1786-1865). Playing on the Sunidagawa, triptych, nishiki-e tate-e, colour woodblock print, artist’s signature, publisher’s mark, censor’s seal, some scattered spotting, tipped onto later card, 74 x 36cm (29 x 14ins) (1)

Lot 114

38

£100-150

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117* Kunisada (Toyokuni III, 1823-1880). Soga goro Tokimune, published by Kagaya Kichieman, 1857, oban tate-e nishiki-e, colour woodblock print, artist’s signature, publisher’s mark and censor’s seal, tipped into later card mount, 37.5 x 25.5cm (14.75 x 10ins), framed and glazed (1)

119* Kunisada (Toyokuni III, 1823-1880). Full-length portrait of an actor, published by Wakosaya Yoichi, Edo period, circa 1850, oban tate-e nishiki-e, colour woodblock print, artist’s signature, censor’s seal, publisher’s mark, 35 x 21.5cm (14 x 8.5ins), framed and glazed, together with another woodblock print of kabuki actors

£200-300

(2)

120* Kuniyoshi (Utagawa, 1797-1861). Ichiman-maru, Hako-omaru [the Soga Brothers], from the series Honcho nijushi-ko [Twenty-four Paragons of Filial Piety of Our Country], published by Maru Tetsu, Edo period, circa 1842, chuban tate-e nishiki-e, colour woodblock print, title, artist’s signature and seal, publisher’s seal and censor’s mark, light crease where previously folded, slightly frayed to edges (strengethened to verso), 24 x 18.5cm (9.5 x 7.25ins)

118* Kunisada (Toyokuni III, 1823-1880). Kai Province represented

by Princess Yaegaki, & Settsu Province, from the series Sixty Provinces of Japan, published by Kawaguchuya Uhei, Edo period, 1843-1845, oban tate-e nishiki-e, a pair of colour woodblock prints, some marginal worming, artist’s signature, publisher’s mark, censor’s seal, 35.5 x 24cm (14 x 9.5ins) and similar, both framed and glazed (2)

£150-200

(1)

£200-300

39

£100-150

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121* Kuniyoshi (Utagawa, 1797-1861). Minamoto no Yorumitsukono yakata ni tsuchigumo yokai o nasu zu, [The Earth Spider conjures up daemons at the mansion of Minamoto no Raiko], published by Ibaya Senzaburo, Edo, 1843, two leaves from triptych, double oban tate-e nishiki-e, colour woodblock print on mulberry paper, artist’s signature, title, publisher’s seal, few minor worm holes, 36.5 x 51cm (14.25 x 20ins) (2)

£200-300

124* Kuniyoshi (Utagawa, 1798-1861). A portrait of the actor Ichikawa Danzo VI (1800-1871), published by Kaga-ya Kichieman, Edo period, circa 1840, oban tate-e nishiki-e, colour woodblock print on wove paper, artist’s signature, publisher’s mark and censor’s seal, two small holes, 36.5 x 25cm (14.5 x 10ins) (1)

£100-150

122 Manner of Utagawa Kuniyoshi (1797 – 1861). Sato Masakiyo hunting tigers, triptych, oban nishiki-e tate-e, colour woodblock print, artist’s signature, publisher’s mark, titles and captions, 37 x 74cm (14.5 x 29ins), framed and glazed (1)

£300-400

125* Lebadang (Dang, 1921-). Lotus, colour lithograph on embossed paper, pencil signed and numbered 1/30 (artist’s proof) to lower margin, 51 x 62cm (20 x 24.5ins) mount aperture, framed and glazed

123* After Utagawa Kuniyoshi (1797-1861). Three bijin with prunus tree in blossom, published by Tsutaya Juzaburo, Meiji Period, circa 1860, triptych, oban nishiki-e tate-e, colour woodblock print, print title, artist’s signature, publsiher’s mark and censor’s seal, left-most leaf repaired to verso, tipped onto later card, 36 x 73cm (14 x 28.75ins) Kuniyoshi produced a print on the same theme titled Plum Blossoms at Night, published by Iba-ya Sensaburo in 1845.

(1) £300-500

Lebadang was born in Vietnam, but spent much of his working life in Paris.

(1) £80-120

40

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126* Lum (Bertha Boynton, 1869-1954). Peking Dust, 1924, colour woodblock print, signed in pencil, 31.5 x 22cm (12.5 x 8.75ins) mount aperture, framed and glazed (1)

£200-300

128* Nishiyama (Katsuyuki, 1945-). Lantern and House, Kyoto, contemporary colour woodblock print, pencil signed in Japanese and English to lower margin, 30.5 x 22cm (12 x 9ins) mount aperture, framed and glazed (1)

129* Sekka (Kamisaka, 1866-1942). Chrysanthemums from Chigusa (One-thousand grasses), published by Yamada Unsodo, 1899, aiban yoko-e karazuri, colour woodblock with gauffrage, heightened with silver and gold, artist’s seal to left side, 24.5 x 36cm (9.75 x 14ins)

127* Minami (Keiko, 1909-2004). Girl with flowers aloft, etching, signed and numbered 36/50 in pencil to lower margin, plate size 38 x 30cm (15 x 12ins), framed and glazed (1)

£100-150

(1)

£200-300

41

£70-100

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131* Sup (Kang Huan, 20th century). Korean Warrior, Seoul, etching on paper, pencil signed to lower margin, plate size, 9 x 5.5cm (3.5 x 2.75ins), framed and glazed (1)

£200-300

130* Sozan (Ito, 1884-). Two Macaws, circa 1920, o-hosoban tatee nishiki-e, colour woodblock print on mulberry paper, artist’s signature and seal to lower right corner, 38.5 x 17.5cm (15.25 x 7ins) (1)

£150-200

132* Follower of Toshihide Migada, (1863-1925). Soldiers and their horses crossing the sea, Taisho period, early 20th century, three colour woodblock prints on laid paper, title and artist’s signature, some damp staining, laid onto board, 20 x 33cm (8 x 13ins) (3)

42

£100-150

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135* Yoshitoshi (Tsukioka, 1839-1892). Three Girls Playing, from the series Yoshitoshi ryakuga [Sketches by Yoshitoshi], Meiji period, circa 1890, chuban yoko-e nishiki-e, colour woodblock print on wove paper, artist’s signature and seal, 18 x 24cm (7 x 9.5ins), together with Kiyohiro (Torii, flourished 1737-1770), Two girls playing with a ball, early 20th century reissue, tate-e nishiki-e, three-colour woodblock print on laid paper, artist’s signature and seal lower right corner, tipped onto later backing paper, lightly creased where previously folded, 30 x 15cm (12 x 6ins), plus Gekko (Ogata, 18591920), Cloth maker preparing cloth with two swallows in background, Meiji period, circa 1910, uchiwa yoko-e nishiki-e, colour woodblock print on laid paper, artist’s signature and seal, lightly creased where previously folded, 23.5 x 25.5cm (9.25 x 10ins), plus five other woodblock prints

133* Utamaro (Kitagawa, 1753-1806). Cherry Blossom, circa 1800, koban tate-e benizuri-e, two-colour woodblock print, tipped onto later card mount, slight dust staining, 23.5 x 17cm (9.25 x 6.75ins) (1)

£80-120

(8)

£100-150

136* Yoshitoshi (Tsukioka, 1839-1892). Three samurai on a rocky outcrop, whilst an old sage sails away on a raft, Edo period, [1864], double oban tate-e nishiki-e, colour woodblock print diptych on mulberry paper, artist’s signature, kiri seal, publisher’s mark and censor’s seal to each sheet, 36 x 50cm (14 x 19.75ins) (1)

134* Utamaro (Kitagawa, 1753-1806). Bijin reading a book, Edo period, circa 1790, oban tate-e nishiki-e, colour woodblock print, later 20th century edition, mica sprinkled paper, 37 x 26cm (14 x 10.25ins), mount aperture, framed and glazed (1)

£100-150

43

£200-300

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137* School of Tsukioka Yoshitoshi (1839-1892). Daimyo’s Procession from Edo, circa 1870, panoramic colour woodblock print, twenty one leaves, original embossed paper covers with printed title label, 497 x 36cm (195.5 x 14ins) overall, contained within contemporary paper envelope with manuscript inscription (1)

ÂŁ1000-1500

44

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138* School of Maruyama Okyo (1733-1795). The Shogun Chokatsu Komei flanked by his warriors Chohi and Kanu, watercolour on silk, heightened with bodycolour, with Japanese pen, ink and opaque watercolour on silk, titled and with artist’s seal to upper right, 815 x 312 mm (32 x 12.25ins), mounted on patterned brown silk and backing paper, with bone end-pieced bottom roller (overall length 173cm, 68ins), with printed German description attached to verso, contained in original wooden scroll box with Japanese inscriptions to outer and inner surface of the lid (1)

£100-200

139* Japanese Prints. A collection of colour woodblock prints, including Hiroshige, mostly oban, 22 x 35cm (9 x 13.75ins) and similar, all framed and glazed (6)

£300-500

140* Japanese Prints. A collection of Japanese prints, colour woodblock print by Shunsen, colour woodblock print on crepe paper, and others similar, 33 x 23cm (13 x 9ins) and similar (13)

Lot 137

45

£150-200

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OCEANIC ART

141* Batuan School. The Deer Hunt, Bali, 20th century, watercolour, pen and ink on paper, 37.5 x 59cm (15 x 23ins) mount aperture, framed and glazed

143* Fiji. Tapa cloth with leaf pattern, brown pigment on beaten mulberry bark, few minor worm holes, 89 x 58.5cm (35 x 23ins)

(1)

(1)

£200-300

£100-150

142* Fiji. A wedding tapa cloth with typical geometric pattern, brown and black pigment on beaten mulberry bark, 150 x 60cm (59 x 23.5ins), together with another tapa cloth, decorated with a central tondo of geometric and floral designs, 80 x 72cm (31.5 x 28ins), both with wooden baton pinned to head and foot Provenance: Edward Short, Baron Glenamara.

(2)

£150-200

144* Ubud School. Village Scenes, 20th century, a pair of gouache on canvas, 33.5 x 22cm (13 x 8.75ins) mount aperture, framed and glazed (2)

46

£80-120

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ISLAMIC, INDIAN & ORIENTAL ART REFERENCE

MIDDLE & FAR EASTERN MANUSCRIPTS

145 Catalogues. A collection of Chinese and Japanese Works of Art auction catalogues, mostly Eskenazi including The Charles A Greenfield collection of Japanese lacquer, hardback publication 1990, Japanese Inro from the collection of E Wrangham, paperback publication 1974 etc.

152 Divine Names. A compilation manuscript prayerbook praising the ninety-nine Divine Names, North Africa, late 19th/early 20th century, various hands in rough script in dark brown and black inks, occasional rubrication, numerous charts and diagrams, disbound, contemporary cloth case, 18 x 11cm (7 x 4.25ins)

(a carton)

(1)

£70-100

£70-100

146 Catalogues. A collection of auction catalogues, mostly oriental art reference, including Christie’s New York (a carton)

£100-150

147 Evans (Tom and Mary Anne). Shunga, the Art of Love in Japan, New York: Paddington Press, numerous illustrations (including some in colour), original publisher’s cloth contained with original slipcase, oblong 4to (1)

£100-150

148* Chinese Prints. A group of four prints, taken from John Ogilby’s Atlas Chinensis, 1671, four plates on laid paper, showing Buddhist scenes, some marginal tears and chips, mainly not affecting image, 27.5 x 47cm (11 x 18.5ins) plate size and smaller (4)

£150-200

149 Rajabi (Mohammad Ali). Masterpieces of Persian Painting, Tehran Museum of Contemporary Art, 2005, contained within original publisher’s slipcase, original cellophane wrap, folio, together with Sami-Azar (A. R.), The International Collection of the Tehran Museum of Contemporary Art, Tehran: Institute for Promotion of Visual Arts, numerous colour illustrations, original publisher’s cloth in dust jacket, folio, plus Javaherian (Faryar), Gardens of Iran, Anciet Wisdom, New Visions, Tehran: Institute for Promotion of Visual Arts, numerous colour illustrations throughout, original publisher’s printed wrappers, folio, plus other reference titles on Iranian art and contemporary art in Iran (a carton)

£100-150

150 Silvester (Hans). Ethiopia, Peoples of the Omo Valley, 2 volumes, Thames & Hudson, 2006, numerous illustrations, original publisher’s cloth, contained with publisher’s slipcase, folio, together with Dark (Philip J. C.), An Introduction to Benin Art and Technology, Oxford: Clarendon Press, 1973, numerous black and white illustrations, original publisher’s cloth in dust jacket, 4to, plus Adler (Peter and Nicholas Barnard), African Majesty, the Textile Art of the Ashanti and Ewe, Thames and Hudson, 1993, text printed on yellow paper, 131 colour illustrations, original publisher’s cloth in dust jacket, large 4to, plus Gillow (John), African Textiles, Colour and Creativity across a Continent, Thames and Hudson, 2003, 572 colour illustrations, original publisher’s cloth in dust jacket, large 4to, plus other African art and anthropology reference (a carton)

153* Hadith. A manuscript fragment of a collection of deeds, sayings, Quranic teachings and protective formulae, Syria, 17th century, Arabic text in black ink on lined paper, occasionally hieghtened with red, naskh script, 118 leaves, approximately thirteen lines per page, few illustrations or charts to text, lacking initial and final leaves, some damp staining affecting majority of leaves, some fraying to edges, occasional small hole, disbound, 21.5 x 16cm (8.5 x 6.25ins) (1)

154 Islamic Laws. Sharh-i risalat barkawi Muhammad Effendi, Turkey, 18th century, naskh script in black ink, some rubrication and underlining of key phrases, few leaves remargined, some marginal dampstaining, contemporary Dutch paper wrappers, a little frayed, 16 x 11cm (6.25 X 4.25ins)

£100-150

151 Stratton (Carol). Buddhist Sculpture of Northern Thailand, Chicago: Buppha Press, numerous illustrations throughout (including some in colour), original publisher’s cloth in dust jacket, folio, together with Quette (Beatrice, editor), Cloisonne, Chinese Enamles from the Yuan, Ming and Qing Dynasties, New Yor: Bard Graduate Center, 2011, numerous colour illustrations (including some full-page), original publisher’s cloth in dust jacket, large 4to, plus Ho (Kamchuen, editor), Brush and Clay, Chinese Porcelain of the Early 20th Century, Hong Kong: Urban Council, 1990, numerous illustrations, titles and text in English and Chinese, presentation inscription in Chinese to half-title, original publisher’s cloth in dust jacket, large 4to, plus other Oriental art reference (2 cartons)

£100-150

(1)

£200-300

155 Life of Jesus. Manuscript account of the life of Jesus Christ including His miracles and the crucifiction, Syria or Iraq, probably 18th century, Syriac text in madnhaya script in black ink on lined paper, occasionally heightened in red, later colophon added in Arabic, contemporary Dutch paper wrappers, slightly rubbed and a little frayed, 16.5 x 11.5cm (6.5 x 4.5ins), together with a similar Syriac manuscript in neat madnhaya script, initial and final leaves lacking

£150-200

(2)

47

£200-300

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Lot 157 157 Al-Kateb (Mohammad, flourished 19th century). Manuscript prayer book, Tabriz, 1843, 126 pages of Persian text in black ink, some rubrication, decorated with gilt, multiple-ruled borders, decorative title page with floral borders, ownership stamp to front free endpaper, contemporary black morocco, blind and gilt decorated, 21 x 14cm (8.25 x 5.5ins) (1)

£700-1000

158 Nepali. Buddhist manuscript with illustrations, Nepal, 1822, Nepali text in prachalit script in black ink with some rubrication, five full-page miniature paintings showing seated bodhivisattas, decorated endpapers, 8 x 15cm (3 x 6ins), together with two similar manuscripts (1)

159 Persian. Manuscript copies of Nizami Ganjavi’s Khosrow and Shirin and Layla and Majnun, India, 1857, Persian in neat nastaliq script, black with titles in red, borders in orange, occasional later marginalia, preliminary leaves lacking, few minor wormholes (rarely with slight loss), disbound, 21 x 13cm (8.25 x 5ins)

156 Medicine. A manuscript volume of medical treatise and herbal treatmentsby Ali Beshir al Maliki, Ghazni, Afghanistan, mid 19th century, Arabic and Persian in neat script, black and red ink on laid paper, final few leaves lacking, disbound, 21 x 15cm (8.25 x 6ins) (1)

£80-120

(1)

£80-120

48

£100-150

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Lot 160

160 Quran. Persian manuscript Qur’an, Qajar period, mid 19th century, 297 pages of Arabic text in black ink, occasional rubrication, heightened with gilt, decorated title page, thirty-one decorative vignettes, approximately 160 surah headings in gilt, original wallet-style black morocco binding, some minor wear to extremities, blind and gilt decorated, 24.5 x 16cm (9.75 x 6.25ins) (1) £1000-2000

49

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161* Quran. Seventeen leaves from a manuscript Quran, including part of the 49th surah Al-Hujarat, Delhi, India, Delhi Sultanate period, 15th century, seventeen leaves with text on both sides, Arabic text in khat e bihar script, black and red ink, double-ruled red borders, occasional marginalia, some overall dust-staining, edges fraying with some loss to foot, occasional hole with minor loss of text, 24.5 x 17cm (9.5 x 6.75ins) (1)

£150-200

162* Shahnameh. Partial illustrated manuscript copy of Firdowsi’s Shahnameh, Iran, Qajar dynasty, early 19th century, seven manuscript leaves, Persian text in black naskh script in four columns, occasional rubrication, decorative borders and chapter headings, heightened with gilt, illustrated with four miniature paintings in gouache, occasional marginal hole, sheet size 30 x 19cm (12 x 7.5ins), disbound (1)

£300-500

163 No lot

Lot 162

50

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ISLAMIC & INDIAN MINIATURE PAINTINGS

164* Al-Mulk (Musavvir Haj, 20th century). A pair of miniatures illustrating fables, mid. 20th century, pen, ink and watercolour on paper, heightened with gilt, verso printed with facsimiles of letters of gratitude to the artist from world leaders, each caligraphically signed in the form of a man’s head, 32 x 24cm (12.5 x 9.5ins) sheet size, framed and glazed (2)

£300-500

166* Book Cover. Prince with bottle flask, Zand dynasty, 18th century, watercolour and gouache on paper, heightened with gilt, lacquered, some slight surface loss, dims (1)

165* Book Cover. Figures at court, Zand dynasty, 18th century, a pair of book covers, watercolour and gouache on paper, each with five vignettes showing figures princes and princesses writing, recling in the garden and bearing cups, heightened with gilt, lacquered, some surface loss, fraying to edges, 34.5 x 21cm (13.5 x 8.25ins) and slightly smaller (2)

£300-500

167* Company School. Pond Heron, South India, circa 1840, gouache on mica, 14.5 x 9.5cm (5.75 x 3.5ins), framed and glazed (1)

£400-600

51

£100-150

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Lot 168

52

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168* Company School. The principal gate to Akbar’s tomb, & Akbar’s tomb at Sikandra, Agra, circa 1810, gouache on stiff paper, a little overall toning, 11 x 18cm (4.25 x 7ins) mount aperture (2)

£1000-1500

169* Company School. Indian roller on a branch, 19th century, watercolour and gouache on paper, captioned in brown ink to lower edge, 22 x 16cm (8.75 x 6.25ins) mount aperture, framed and glazed (1)

£200-300

170* Company School. Trades and professions, probably Delhi, circa 1806, eight watercolours on lined, watermarked paper, showing tradespeople at work including ‘grinding turmerick’, ‘birdcatchers’, ‘schoolmaster’, and others, most captioned in ink to lower border, occasional marginal small mark, 30 x 24cm (12 x 9.5ins) and slightly smaller (8)

£300-500

Lot 169

171* Deccan School. Seduction on the red carpet, probably Hydrabad, 19th century, miniature in gouache on recycled manuscript leaf, showing a prince seducing a courtesan on the palace balcony with gardens beyond, image size 14 x 7cm (5.5 x 2.75ins), framed and glazed (1)

Lot 170

53

£200-300

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172* Jaipur School. Miniature painting showing the royal household viewing their estates, late 18th or early 19th century, watercolour and gouache on paper, heightened with gilt, captioned in contemporary hand to upper margin ‘Maharaja Trilokinauth Singh’, slightly scuffed and creased to margins, 23 x 17cm (9 x 6.75ins) image size (1)

£700-1000

173* Kashmir School. A Gaddi family trecking with sheepdog, Jammu and Kasmir, 19th century, watercolour and gouache, image size 21 x 26cm (8.25 x 10.25ins), framed and glazed For a similar miniature see W. G. Archer, Indian Paintings from the Punjab Hills, London 1973, vol. I, p. 309.

(1) £500-700

Lot 172

174* Mewar School. The Dancer and The Drummer, Rajasthan, late 18th century, watercolour and gouache on paper, image size 25 x 17cm (10 x 6.75ins), framed and glazed (1)

Lot 173

54

£400-600

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175* Mughal School. Fruit bats hanging from a tree, probably Northern India, circa 1750-1800, opaque watercolour, gold and ink on paper, image size 326 x 180 mm (12.8 x 7.2 inches), with elaborate outer border illuminated in gold, silver and colours with decorative floral motifs, sheet size 534 x 333 mm (21 x 13.15 inches), archival mount, modern museum-quality frame, conservation glass Fruit bats are a symbol of longevity in Mughal culture.

(1)

55

ÂŁ700-1000

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176* After Aqa Mirak (active 1520-1576). The Physicians’ Duel (from the Makhzan al-Asrar section of the Khamsa of Nizami), circa 1575-1600, opaque watercolour, gold and ink on paper, with nasta’liq calligraphy in single compartment to upper right of the miniature, image size 315 198 mm (12.4 x 7.75 inches), within an illuminated ruled frame and outer border decorated in gold with pastoral scenes of animals and plants, sheet size 406 x 291 mm (16 x 11.45 inches), some flaking and loss, mainly to the upper sky, the areas of trees and below the prostrate figure, archival mount, modern museum-quality frame, conservation glass In this story from the Makhzan al-Asrar (Treasury of Mysteries), two rival court physicians take part in a medicinal duel. One offers his opponent a poison pill which is taken but rendered harmless with an antidote. Then the other picks a rose, and with his rival looking on anxiously, breathes a spell onto it and hands it to him to smell. The latter falls dead to the ground, thus symbolizing the greater power of fear.

The present work is a copy of the painting contributed by Aqa Mirak to the famous Khamsa of Nizami commissioned by Shah Tahmasp at Tabriz between 1539 and 1543 (British Library , inventory number OR. 2265, verso of folio 15). The details of the composition are nearly identical , with the exception of several small details and some variations in colour, as well as the script, which in the earlier version is placed in two rectangular frames to upper right and two further framed rectangles at the bottom of the scene (the latter not present in this later version). The miniature in the earlier Tahmasp Khamsa measures 292 x 196 mm.

This fine Mughal miniature of the late 16th century bears some comparison to another important manuscript Khamsa of Nizami also in the British Library (inventory number OR. 12208), which was created for the Mughal Emperor Akbar in the 1590’s by various artists and a single scribe, most likely in Lahore, the Emperor’s new capital. This British Library manuscript Khamsa consists of 325 folios, of “light brown polished paper”, containing 37 single-page miniatures and one double-page miniature, and was bequeathed to the library by the collector C.H. Dyson Perrins (who had purchased it in 1909) on his death in 1958. A further 39 leaves from this manuscript, containing four miniatures, including one double-page, are held at the Walters Art Museum, Baltimore (MS W.613). This masterpiece has been described as “one of the finest examples of the Indo-Muslim arts of the book” and “one of the most perfect of the de luxe type of manuscripts made for Akbar”.

Provenance: Reverend Edward James Clifton of Hawick, Roxburghshire in the Scottish Borders, Army Chaplain in Persia during the First World War with the Mesopotamian and North-Western Persia Expeditionary Forces, and author of Bible illustrations from Persia of to-day, Marshall Brothers [1914]; Sale, Mainstreet Trading auction, Saint Boswells, Melrose, March 4, circa 1995, where purchased by the current owner.

Literature: Barbara Brend, The Emperor Akbar’s Khamsa of Nizami, British Library, 1995.

Stuart Cary Welch, Royal Persian Miniatures, Thames and Hudson, 1976, plates 22and 23, pages 76-79.

Stuart Cary Welch, Wonders of the Age – Masterpieces of Early Safavid Painting 1501-1576, British Museum, 1979, pages 146-147.

(1) 56

£10000-15000

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177* After Aqa Mirak (active 1520-1576). Nushirvan and his vizier listening to the owls in the ruined village (from the Makhzan alAsrar section of the Khamsa of Nizami), circa 1575-1600, opaque watercolour, gold and ink on paper, with nasta’liq calligraphy in compartments of varying rectangular size near top and bottom of the miniature, image size 312 198 mm (12.25 x 7.75 inches), within an illuminated ruled frame and outer border decorated in gold with pastoral scenes of animals and plants, sheet size 406 x 291 mm (16 x 11.45 inches), some slight flaking and loss, mainly to the area of fallen masonry near the figure of Nushirvan, archival mount, modern museum-quality frame, conservation glass The present work is a copy of the painting contributed by Aqa Mirak to the famous Khamsa of Nizami commissioned by Shah Tahmasp at Tabriz between 1539 and 1543 (British Library , inventory number OR. 2265, verso of folio 15). The details of the composition are nearly identical , with the exception of the two owls on the ruined palace, which are not present in this later version. The folios in the Tahmasp Khamsa measure 360 x 250 mm.

This fine Mughal miniature of the late 16th century bears some comparison to another important manuscript Khamsa of Nizami also in the British Library (inventory number OR. 12208), created for the Mughal Emperor Akbar in the 1590’s by various artists and a single scribe, most likely in Lahore, the Emperor’s new capital. This British Library manuscript Khamsa consists of 325 folios, of “light brown polished paper”, containing 37 single-page miniatures and one double-page miniature, and was bequeathed to the library by the collector C.H. Dyson Perrins (who had purchased it in 1909) on his death in 1958. A further 39 leaves from this manuscript, containing four miniatures, including one double-page, are held at the Walters Art Museum, Baltimore (MS W.613).

Provenance: Reverend Edward James Clifton of Hawick, Roxburghshire in the Scottish Borders, Army Chaplain in Persia during the First World War with the Mesopotamian and North-Western Persia Expeditionary Forces, and author of Bible illustrations from Persia of to-day, Marshall Brothers [1914]; Sale, Mainstreet Trading auction, Saint Boswells, Melrose, March 4, circa 1995, where purchased by the current owner.

Literature: Barbara Brend, The Emperor Akbar’s Khamsa of Nizami, British Library, 1995.

Stuart Cary Welch, Royal Persian Miniatures, Thames and Hudson, 1976, plates 19 and 20, pages 70-73.

Stuart Cary Welch, Wonders of the Age – Masterpieces of Early Safavid Painting 1501-1576, British Museum, 1979, pages 138-141.

Malini Roy and J.P. Losty, Mughal India: Art, Culture and Empire, British Library, 2013.

(1)

57

£10000-15000

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178* Mughal School. Drumming for the Pehlwani Bout, early 19th century, watercolour and gouache heightened with gilt, image size 18.5 x 30.5cm (7.25 x 12ins), framed and glazed (1)

£500-700

179* Mughal School. Lady with Falcon, Delhi, circa 1820, watercolour and gouache on wasli paper, heightened with gold, 7 x 5cm (2.75 x 2ins), framed and glazed (1)

£400-600

180* Mughal School. Falcons, Delhi, late 19th century, a pair of miniature paintings, watercolour and gouache on stiff paper, floral borders, 20.5 x 12.5cm (8x 5ins), framed and glazed (2)

Lot 179

58

£300-500

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181 Mughal School. Nine scenes of courtly love, early 19th century, nine gouaches on slightly earlier reused manuscript leaves, bound together with further manuscript leaves forming an incomplete account of the versified Sayings of the Prophet, dated 1809, contents shaken with few leaves loose, morocco-backed marbled boards, worn, 8vo (1)

Lot 180

59

ÂŁ300-500

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182* Mughal School. Young prince with belted jambiya offering food and wine to a lady beneath a tree, 18th century, fine nim-qalam pen and coloured ink miniature on paper, with pale green and grey watercolour wash, heightened with gold, dark green/black paper strips to border, 155 x 115mm (6.2 x 4.6ins), framed and glazed Provenance: Purchased by the current owner from the descendents of Leopold Hirsch of Aldbourne, whose famous collection was dispersed by Christie’s in 1934.

(1) ÂŁ2000-3000

60

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Lot 183

Lot 185

183* Mughal School. Miniature painting of a palace interior, showing a prince seated on a summer carpet smoking a hookah with two attendants bearing cups, late 19th century, watercolour and gouache on a reused manuscript leaf, heightened in gilt, 23 x 14cm (9 x 5.5ins) image size, framed and glazed (1)

Lot 186

185* Rajasthan School. Huntsman on elephant, probably Mewar, late 19th century, miniature painting in gouache on recycled manuscript leaf showing a nobleman hunting from the back of an elephant with landscape beyond, image size 15 x 10cm (6 x 4ins), framed and glazed, together with a similar miniature showing two figures playing games under a gazebo

£300-500

(2)

£100-150

186* Rajasthan School. Three women bathing, with falconer on horseback, probably Rajasthan, India, late 18th century, opaque pigments and gold on paper, showing three women by a pool with lotus flowers and egrets, covering themselves from a Mughal falconer on horseback on a hill above, with another figure in a canopied carriage with two oxen, 215 x 143 mm (8.5 x 5.6ins), laid down onto slightly later orange-painted mount, captioned in Persian to upper mount, framed and glazed (1)

184* Persian School. A pair of miniature paintings, one of a woman bathing, the other showing an old man greeting his son, late Qajar, early 20th century, watercolour and gouache on paper, largest 16 x 27cm (6.5 x 10.5ins) (2)

£150-200

61

£400-600

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NEAR & MIDDLE EASTERN ANTIQUES 189* Prayer Bench. Islamic prayer board, Swat Valley, North West Pakistan, circa 1850, adzed and carved Himalayan cedar, repeating carved border pattern, raised on two shaped planks, historic repair to top, 148cm (58ins) high Mainly used by women, the prayer boards of the Swat Valley are used in the same way as a sajjada or prayer mat. The abundance of timber in the region led to a strong tradition of wood-carving, the products of which can still be seen in Swat Valley homes.

(1) £150-200

190* Quran Box. An Islamic brass sunduq or Quran box, decorated with thuluth and geometric patterns, Egypt, late 19th century, brass, inlaid decoration in silver and copper, lined in cedar, 5.5 x 13.5 x 10cm (2.25 x 5.25 x 4ins)

187* Islamic Plate. Large plate, 19th century, decorated with blue and turquoise glaze over a crackle ground, some restoration, 48cm (19ins) diameter (1)

(1)

£200-300

£250-350

188* Islamic Pottery. Fragment of the base of a large bowl, 19th century, decorated in green glaze, incised inscription to base, 30cm (12ins) diameter (1)

£70-100

191* Tiles. Fragment, decorated with flowers, Syria, early 19th century, green, blue and red glaze, some traces of plaster to verso, 46cm (7ins) (1)

£100-150

192* Turkish Brass. Bosphorus barge, 19th century, cut brass with impressed and pierced decoration, 71cm (28ins) long (1)

Lot 189

62

£300-500

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PHOTOGRAPHY

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PHOTOGRAPHY 1850-2000 To commence at 1.30pm

201* Africa. A group of 40 albumen prints of North Africa, Egypt, Congo, Senegal and elsewhere, circa 1880s, including a two-part panorama of Aden on two mounts, 4 photographs by Lehnert & Landrock, a mixture of portraits and views, various sizes with some mounted as multiples on album leaves and some loose £150-200

203* Alpine Views. A group of 5 large-format Alpine views, circa 1920s, gelatin silver prints, unsigned and unidentified, 37.5 x 52cm, original mounts (somewhat spotted), contained in purpose-made(?) glazed and wooden portfolio with carrying handle and wooden desk support at rear

202* African Art. A group of 34 gelatin silver prints of African tribal figures and masks, probably from a French collection, 1970s, good quality studies, mostly approximately 25 x 20cm and similar sizes

204* Ambrotypes. A whole-plate ambrotype of a woman holding a Union case, circa 1855, gilt and black highlights, oval mat, framed and glazed with Pace and Mann, Tunbridge Wells paper label to verso, together with a half-plate colour-tinted ambrotype of a man reading a book, circa 1860, elaborate wooden frame, slightly chipped

(34)

(2)

(40)

(6)

£100-150

64

£150-200

£100-150

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205* Ambrotypes. A group of 19 ambrotypes, quarter plate to ninth plate, 1860s and later, some in cases and including one in a Union case, together with a group of 6 early colour transparencies, mostly Dufaycolor including two of Japan (25)

£150-200

206* Ambrotype. A half-plate ambrotype of an unidentified man and young girl with apple, 5.5 x 4.25ins, oval mat, framed and glazed, together with an oval-format ceramic transfer print, circa 1910, showing an Edwardian besuited gentleman with cane beside a stile in a field, 26 x 22cm (10.25 x 8.5ins) Two good examples of these techniques.

(2)

208 Arbus (Diane). Arbus Portfolio, 1st edition, Milan: Electa Editrice, 1979, 4 pages of text, 12 black and white photographs on plates printed in gravure, 40.5 x 30.5cm, loosely contained in original photo-illustrated card portfolio, tall folio Limited edition 200/1000.

(1)

£70-100

207* Anderson (James Isaac Atkinson, 1813-1877, attrib.). The Forum, Rome, circa 1860, mammoth albumen print, laid on card, small chip to upper left corner, 41 x 55cm (16 x 21.75ins) (1)

£300-500

209* Auden (Wystan Hugh, 1907-1973). Portrait of Auden and his godson Philip Spender at a Faber party, by Mark Gerson (born 1921), London, October 1972, vintage gelatin silver print, 18 x 24cm, photographer’s ink credit stamps and manuscript details to verso, signed by Mark Gerson on the mount and inscribed London, framed and glazed

£100-200

(1)

65

£200-300

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210* Australia. A group of 20 albumen prints, circa 1880, including views of Melbourne, Katoomba Falls, Jenolan Caves, two-part panoramas of Armidale (mounted) and Sydney from GPO Tower, by H. King, etc., various sizes, mostly on contemporary mounts and some as multiples and back to back (20)

£150-200

212 Barnard (Edward Emerson). A Photographic Atlas of Selected Regions of the Milky Way, edited by Edwin B. Frost and Mary R. Calvert, 2 volumes, 1st edition, Washington, D.C., 1927, volume 1 with portrait frontispiece (offset to title and half-title verso), plate of the Bruce Telescope and 51 gelatin silver prints mounted on linen, each 23 x 23cm, volume 2 with 50 charts and accompanying tables, original cloth gilt, rubbed and slightly soiled, 4to

211* Autochromes. A group of three autochromes by Olive Edis (1876-1955), circa 1915, including a three-quarter length portrait of Sir Charles Tomes, seated, in robes, another of a large historic royal painting and the third of Mary Magdalen at the tomb(?) on a stained glass window, the latter two with long edge seals deficient, all 21.5 x 17cm Sir Charles Tomes, MRCS, LDS, FRS, (1846-1928) was a leading British dental surgeon. By the time he died at his home in Aylsham, Norfolk, he had been knighted for his pioneering dental research and given his name to Tomes’ processes, concerning the cells involved in the production of tooth enamel. His LLD robes, as worn in this autochrome, are on display in the Science Museum, London.

(3) £150-200

The first significant photographic star atlas, issued in an edition of 700 copies and for which Barnard personally inspected all 35,700 photographs printed (see Preface). Barnard established photography as the main form of astronomical observation and also discovered a dark nebulae, this work including his ‘Catalogue of 349 Dark Objects in the Sky’, completed by his assistant, Mary Calvert, after his death in 1923.

(2) £1500-2000

66

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Lot 212

67

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214* Biggs (Thomas, 1822-1905). Temples at Purudkul, circa 1866, albumen print on original mount with printed label ‘Plate LVIII. Purudkul. Temples’ to lower margin, 283 x 388mm (11 x 15.25ins) (1)

£200-300

215* Bignell (John). Chelsea Photographer, Foreword by Mervyn Levy, 1st edition, 1983, b & w plates from photos, orig. cloth in d.j. with slight edge wear, 4to (signed limited edition 97/200), plus two large-format gelatin silver prints (29.5 x 37cm) of plates 69 and 75 from the book, both signed and dated to lower margin, plus 5 largeformat colour photographs by Bignell, all but one signed, plus 2 further vintage large-format gelatin silver prints by Bignell also signed and dated, plus 3 others unsigned (one not from life), plus a publicity four-page brochure for the film ‘Peeping Tom’ using an image by Bignell across front and rear wrapper, creased and slightly split at margins, 25 x 46cm (10 x 18ins) unfolded

213 Space Photography. A group of 51 photographs of sun spots, nebulae and clusters of stars, circa 1920s/1940s, vintage gelatin silver prints mounted on individual stiff card leaves and presented in two contemporary ring binders, images 19 x 24cm and similar, pencil numbers in the left margin and occasional references to NGR numbers and size of telescope used (up to 100 inches), one photograph of the Andromeda Galaxy with pencil identification ‘M31, Yerkes, 24 in’, contemporary plain black cloth, oblong folio

(14)

The compiler of this impressive collection of photographs has not been identified. Three of the photographs are of diagrams and charts.

(2) £300-500

68

£150-200

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216* Bisson (Louis-Auguste & Auguste-Rosalie). Place de la Concorde, circa 1858, albumen print, ink stamp ‘Bisson Freres’ on the image, 27 x 43.5cm (10.5 x 17ins), framed and glazed (1)

£400-600

218* Bisson (Louis-Auguste & Auguste-Rosalie). Four mammoth albumen prints of Rome, circa 1865, all Italian views on original mounts with Bisson Freres red ink stamp, embossed stamp and French pencil caption to lower mounts, showing Arch of Constantine, St. Pierre and the Vatican, Temple of Esther and Greek columns, Venice, images 35 x 44cm, mounts spotted, dust-soiled and frayed with a little loss (4)

£700-1000

219* Blinks Family Archive. An assorted archive of photographs and other ephemera, late 19th and early 20th century, concerning Thomas Blinks and possibly other families of Berkshire, Buckinghamshire, Kent, etc., including studio portrait photos, snapshot albums, loose photos, scrap books, diaries, and assorted ephemera, various sizes (a carton)

£100-200

217* Bisson (Louis-Auguste & Auguste-Rosalie). Hotel de Ville de Paris, early 1850s, albumen print, ink stamp in the image lower left, 30 x 43cm (12 x 17ins), framed and glazed In 1828 a suspension bridge was constructed across the Seine and this is the bridge shown here. In 1854 the wrought iron pont d’Arcole replaced the earlier bridge making this photograph prior to that.

(1) £400-600

220* Bourne (Samuel, 1834-1912). Hill men and women near Shimla, circa 1865, albumen print, 20 x 26.5cm, contemporary album mount with ink title ‘Group of Guddees, Chumba’ to lower mount (1)

69

£200-300

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Lot 223 221* Bourne (Samuel, 1834-1912). Pathans, Peshawar Valley, circa 1865, albumen print with negative number 1389 in the image to lower left corner and ‘71’ to lower right corner, 20.5 x 28cm, contemporary paper mount with ink title at foot (1)

£200-300

222* Bown (Jane, 1925-2014). A group of 4 large-format gelatin silver prints from the Jane Bown Collection, including Malcolm Muggeridge (33 x 48cm), Shirley Maclaine (48 x 32cm), Fiona Shaw (47 x 32cm) and Peter Wyngarde (47 x 31cm), the first two signed by the photographer to lower mount, all framed and glazed (4)

£200-300

223* Bown (Jane, 1925-2014). A group of 8 large gelatin silver print portraits from the Jane Bown Collection, including portraits of Desmond Tutu, Richard Ingrams, Barry Flanagan, Hamish Fulton, Peter Pears, Dhruva Misty, Muli Tang and Nigerian officials, all approximately 33 x 49cm or the reverse, matted (8)

£200-300

225 Braun (Adolphe Armand ). Hieroglyphic or Greek Method of Life Drawing, with Contributions by Dorothy Lees, et al, Photographs by E.D. Cooke, Peter Lely and the Author, published by the Postal University, new edition, [1919], colour hieroglyphic design tipped on to title, gelatin silver print frontispiece of a nude, 25 gelatin silver prints of poses of the nude Miss Dorothy Lees, 15 x 10cm, text block loose in original printed wrappers, some dust-soiling and minor marginal wear, small folio

224 Brandt (Bill). The English at Home, Sixty-Three Photographs, introduced by Raymond Mortimer, 1st edition, Batsford, 1936, b & w plates from photos, original photographically illustrated boards, some edge wear, spine browned and slightly chipped with little loss at head and foot, 4to Parr & Badger I, 138; Roth, p. 90.

(1)

£100-150

In this copy the poses on the rectos of pages 77-125 are real photographs.

(1) £500-700

70

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226 Bremner (Frederick). Baluchistan Illustrated 1900, 1st edition, published Fred Bremner, Quetta, circa 1900, 46 half-tone plates including 1 folding, publisher’s adverts at rear, title browned, ownership inscription of Captain N.L. St. Pierre Bunbury, 106th Hazara Pioneers, Quetta, Baluchistan, to front free endpaper (creased), hinges broken, original cloth gilt, rubbed and dust-soiled, together with Lambert (W.), Scenes in Kashmir from Photographs

by W. Lambert, circa 1930s, half-tone illustrations, original printed wrappers, dust-soiled, both oblong folio (2)

£250-350

228* British Topography. A group of approximately 150 albumen prints, circa 1870s/1880s, including some views by Francis Bedford and numerous views of Devon, mostly Exeter Cathedral and other architecture including some duplicates, various sizes up to 25 x 30cm, some with credits and captions and mostly loose or on individual mounts (approx. 150)

229* Brittany. A group of 12 albumen prints of Brittany peasants (one not from life), circa 1880s, including 5 of between one and three figures, the remainder larger group shots and all in local costume, a few with captions in the negative and one with initials C.P., postcard sizes and larger

227* British Officer. A fine head-and-shoulders portrait of a British officer with medals, circa 1890, carbon print, the medals include Crimea, India General Service, Indian Mutiny, Order of the Bath, Order of the Medjideh (Turkey) and Legion d’Honneur (France), plus The Order of St. John breast star and neck badge, photographer’s red ink signature lower left [?George Manville], 58 x 43cm (23 x 17ins), framed and glazed (1)

£100-150

(12)

£100-200

71

£100-150

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Lot 230

230* Building Construction. A panoramic concertina-style timelapse photograph of the construction of Brunswick Wharf, London, 9 March 1950 to 9 September 1954, 52 photographs with printed details in the negative, many with photographer’s credit, the majority being A. Potter, with linen backing to form a concertina-style strip, each measuring 15 x 20cm, together with two albums containing 339 mounted gelatin silver prints of industrial units in Dagenham (41), Bristol (54), Ipswich (28), Basildon (130), Bournemouth (2) and Brighton (84), the majority with numeric date typed on to the image, 1961-62, each 7.5 x 7.5cm, mounted as multiples of six to a page and mostly back to back on thirty-one stiff card leaves and arranged by project, contemporary cloth ring binders, slightly rubbed, 4to (3)

£200-300

232* Burrows (Larry, 1926-1971). Tessie O’Shea and Wendy Hiller in dressing room, 1947, vintage gelatin silver print, a little creased at top corners, credit and date stamp and pencil title to verso, 23 x 22cm (1)

231 Burma. A small album of 28 gelatin silver prints, circa 1920, showing British and Burmese dignitaries, etc., plus musicians and performers in costume, a regatta with decorated boats, a polo match, including two two-part panoramas (partly back to back), mostly numbered in the negative, 7.5 x 12.5cm and similar, contemporary cloth, rubbed and soiled, small 4to, together with Muriel (Mrs Ernest), Glimpses of Burmah, published by Rowe & Co. Ltd., Rangoon and London, circa 1910, 24 tipped-in collotypes, 15 x 20cm, some corners a little creased, printed captions to mounts, original printed wrappers with spine tie, some edge fraying, oblong folio (2)

£200-300

233* Camera. A mahogany and brass bound New Patent Camera

by J. Ashford, Birmingham, circa 1880s, black leather bellows and tailboard, separate lens and three plate holders, contained in two leather cases with some wear (2)

£100-150

234* Cameras and accessories, A plate camera of wood and brass, with Beck symmetrical lens, Thornton Pickard type shutter and folding wooden tripod, plus an assortment of other cameras including a Butcher’s roll film reflex Carbine camera complete with original box, 13 folding roll-film cameras various makes, five 35mm cameras including Agfa, Konica, Halina, Kodak, most with ever-ready cases, an Olympus OM-10 camera including 50mm f1.8 Zuiko, Vivitar 28-70mm f3.9-f4.8 OM fit in case, Bell and Howell 135mm f2.8 OM fit in case, all in original Olympus camera bag, plus assorted accessories, binoculars, slide viewers and other related items

£150-200

(3 cartons)

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£100-150

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235 Canada, Japan & India. A pair of photograph albums containing 191 window-mounted gelatin silver prints on 48 leaves, circa 1910, the first 54 photographs recording a mountaineering expedition to Asulkan Glacier, Banff, Canada, mostly landscapes and a few with expedition members, the following 42 photographs continuing in Japan, largely depicting gardens and temples, all 95 photographs in the second album showing views, temples and street scenes in India, all 8 x 13.5cm and neatly arranged two to a page with manuscript captions on paper slips tucked in to mounts, contemporary cloth, rubbed, 4to Loosely inserted are three postcards from Switzerland, 1898-1907, addressed to Irene Galloway, Timperley, near Manchester, two being signed by James.

(2) £300-400

236* Canada. A group of 33 vintage bromide gelatin silver prints, late 1940s, relating to a Catholic ceremony, mostly photographs of ecclesiastical and other dignitaries including prime minister Mackenzie King, plus photographs of worshippers and school groups, and 4 featuring the modernist architecture of the church, 25 x 20cm and the reverse (33)

£150-200

Lot 235

237 Cartes de visite - Jockeys. A concertina-style album containing 21 hand-coloured carte-de-visite portraits of British jockeys, photographed by Lombardy of Brighton, circa 1877, oval head-andshoulders portraits with painted racing colours, contemporary ink identification of surnames to lower mount and at foot of mat, photographer’s stamp and publisher’s credit ‘W.A. Wright, Newmarket’ to card versos, folded concertina style into a contemporary green morocco wallet with remains of lock, gilt-titled ‘Celebrated Jockeys’ to upper flap, worn with one concertina section and upper cover detached, 10 x 12.5cm A pantheon of mid-Victorian jockeys, with most images in good to very good condition. The jockeys include George Fordham, John Wells, James Goater, Harry Cunstance, Charles Maidment, Henry Constable, Fred Webb (slight abrasion to colour on nape of neck), Glover, John Osborne, C. Archer (or possibly Fred Archer’s brother George?, heavy abrasion to colours on tunic and cap), Newhouse, Thomas Challoner, Tom Cannon (mottling to tunic and slight abrasion to cap), Fred Archer (the pre-eminent jockey of his time), Edward Rossiter, Hopkins, Charles Wood, John (Jack) Morris, Jem Snowden, John Osborne and Morgan. The name of possibly the owner appears written vertically on the lower mount of the ‘first’ carte de visite: Mr G. Gouley[?], July 21 1879’.

(1) £400-600

Lot 236

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238* Cartes de visite. A good group of 168 cartes-de-visite portraits

by Adolphe-Andre-Eugene Disderi, all albumen prints, many of named individuals, some of them titled Disderi was the probable inventor of the carte-de-visite format and was considered the outstanding portrait photographer of his time. He is remembered for having been the first to establish photography as a business as well as an artistic craft.

(168) £500-800

239* Cartes de visite. A group of topographical albumen print cartes de visite, locations include Italy, Germany, Switzerland, France, Scotland, Wales, many ‘Gems of Irish Scenery’ and numerous villages, towns and cities in England, including London (132)

£200-300

Lot 238

240* Cartes de visite. A group of over 300 albumen prints cartes de visite, subjects including celebrities, royalty, topography, etc., plus a group of approximately 50 cabinet cards and stereoviews (a small carton)

£500-800

241* Cartes de visite. A group of 6 cartes-de-visite albums, circa 1860s/1880s, all with a wide selection of mostly cartes-de-visite portraits, plus a quantity of approximately 200 loose cartes de visite and cabinet cards (a carton)

Lot 239

74

£150-200

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242* Cartes de visite - Italy. A group of 44 albumen print cartes de visite of Italian views, circa 1860s/1870s, some with printed credits to verso, studios include Carlo Ponti, Adolphe Godard and C. Degoix (44)

£100-150

243* Cartes de visite. A group of 125 albumen carte-de-visite portraits, circa 1860s/1880s, including 33 of British parliamentarians (plus 2 cabinet cards), photographers include Maull & Co., Neurdein, Elliott and Fry, London Stereoscopic and Photographic Company, G.W. Wilson, etc.

(127)

£100-150

244* Cased images. A group of 5 daguerreotypes and 1 ambrotype of children from one family, 1840s/1850s, including two one-sixth plate daguerreotype studies of two children in a decorative Union case, one image loose, two one-sixteenth plate oval daguerreotypes of young babies with locks of hair in an acorn Union case, a oneninth plate daguerreotype of a mother holding a baby in morocco case with clasps and a one-ninth plate ambrotype of a young girl in hand-coloured frock, morocco case with clasp (4)

£100-150

246* Ceylon. A group of 7 albumen prints by Apothecaries Co. Ltd., circa 1880s, including two portraits of Chitty men, three street scenes and two rural village scenes, all with figures, a few short marginal splits, photographer’s initials and/or embossed stamps to lower margins, 21 x 27cm and the reverse (7)

£150-200

245* Ceylon. A group of 9 albumen prints by Skeen & Co., circa 1870, mostly street scenes and rural scenes with figures, photographer’s name and negative number in the negatives, pencil captions to versos, together with a slightly later albumen print by Scowen & Co., showing a European official with ceremonial sword standing with a group of Singhalese male dignitaries in fine robes and hats, photographer’s credit in the negative, all 21.5 x 28cm (10)

£200-300

247* Ceylon. A group of 9 albumen prints, circa 1880s, including portraits of a gem cutter, a group of three villagers plus street and rural scenes, all but three with figures, all unidentified [possibly Apothecaries Co.], a few minor marginal splits, approx. 21 x 28cm and similar (9)

75

£200-300

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249 China & East Asia. An album containing approximately 240 gelatin silver print photographs and (mostly) real photo postcards, circa 1910, including people and views in Hong Kong, Canton, Nanking, Japan, Formosa and the Philippines, also including approximately 45 East Africa related and 25 miscellaneous, many of the photographs postcard size and smaller but including some small panoramic views, (8 x 27cm and smaller), arranged mostly in geographical sections, some photos with captions in the negatives and occasionally with white china ink captions to the mounts (sometimes indistinct), mounted as multiples to each page and back to back throughout, contemporary limp cloth, together with an album of 120 window-mounted gelatin silver print views of India, early 1900s, a mixture of town and hill views including some with figures, 6.5 x 10cm, hinges broken, contemporary cloth, both rubbed, oblong folio (2)

ÂŁ300-500

248* Children. A group of approximately 90 cartes de visite and 60 cabinet cards featuring children, circa 1860s and later, mostly British subjects and studios, together with a group of 20 further cabinet card portraits in a contemporary morocco book box, some wear (approx. 170)

ÂŁ150-200

Lot 249 Lot 250

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251 China & Japan. A photograph album compiled by Colonel T.S. St. Clair, 2nd Royal Berkshire Regiment, circa 1880, including ten albumen prints of Chinese interest on five leaves, including two portrait groups, possibly by Lai Fong, circa 1870s, the first of two well-to-do Amoy women with a small child, the women with small bound feet, 21 x 23.5cm, the second with same props showing two Amah or servant class women, 17.5 x 18.5cm, the other Chinese photographs showing foot binding (9 x 16cm), irregular Chinese chair (13 x 27cm), part of Gordon’s Army, taken at Ningpo (12 x 19.5cm), an Arab charger called Caviare with attendant (17 x 19cm), a Cantonese itinerant umbrella and sticks mender (11.5 x 17cm) and three photographs of monuments (9 x 25cm and similar), plus twenty-four albumen prints of Japanese interest on twenty leaves, mostly hand-coloured views, each approximately 18 x 26cm, but including two uncoloured views of Mount Fuji and six smaller photos, the whole album with photographs mounted to rectos only with neat detailed ink captions to mounts, brief details of St. Clair’s time in the East to first leaf and coloured woodblock panorama of Yumoto partly pasted to rear pastedown with remainder detached, some repairs to verso, 35 x 69cm, some heavy spotting throughout, contemporary half morocco, worn and covers detached, oblong folio

250 China & India. A photograph album relating to the military service of Captain Geoffrey R. Pridham (1872-1951) in India and China, circa 1889-1902, a total of 81 albumen print and gelatin silver print photographs including 16 loose, beginning with photographs relating to his time at the Royal Military Academy including group photographs, buildings and views, photographs in India and Pakistan including a group of 12 views on 3 leaves, each 11.5 x 15cm, and 2 views of Quetta, one titled in the negative ‘Rajnan woodcutters [by] Lumsden & Fuller’, each 21 x 28cm, plus 6 hand-tinted albumen prints of Japanese women of similar size (four loose), plus a group of 20 gelatin silver prints of China (seven loose) from the time of the Boxer Rebellion, 1901, showing Summer Palace, Temple of Heaven, four horses with different nationality attendants, International Committee group portrait, march past featuring Count von Waldersee, January 1901, a street view and two views of construction, plus various street scenes, each 15 x 20cm, one twopart panorama of the Forbidden City, Peking, 14.5 x 39cm, plus other photos of Pridham and other westerners with horses and trophies, mounted on 15 stiff card leaves, all loose, 23 blank leaves at rear, neat captions to mounts, some spotting, armorial bookplate to front free endpaper, contemporary half morocco, Pridham’s gilt monogram to upper cover, some soiling and wear, folio (1)

(1)

£500-800

£300-500

252* China. A group of 25 vintage gelatin silver prints, circa 1905, all loose small-format amateur photographs of mostly Chinese figures including children, including street, harbour and rural scenes, approximately 12 x 9cm and slightly smaller, plus 3 related real photo postcards showing a street scene with banners, rough sea and typhoon damage (28)

Lot 251

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£300-400

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Lot 253

Lot 254

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255* Churchill (Sir Winston, 1874-1965). Portrait by an unknown photographer, May 1940, vintage gelatin silver print, head and shoulders, wearing his homburg hat, spotted scarf and herringbone coat, some retouching to upper white area, 48 x 37cm, framed and glazed

253 China. An album of 164 mounted gelatin silver prints, compiled by a German soldier, China and South-East Asia, circa 1913-14, including views of China, Ceylon, Samoa, the Suez Canal and including several of the Second Chinese Revolution of 1913 including executions, also showing the Imperial Grave at Nanking, the Monument to the SMS Iltis in Shanghai and a fire in Hankow, plus photographs of excursions to Lauschang and Fouschang, among the photographs of ethnic types several of young women, plus photographs of young women, local people and several of actors and acrobats, plus several of the sailors’ comrades on their expeditions, some numbered in the negative, many with typescript or handwritten label pasted to lower corner of print or neatly handwritten to mount beneath, mounted mostly one, two or four to a page and back to back on 24 leaves, sizes ranging from 23 x 29cm to 9.5 x 14cm or the reverse, contemporary morocco-backed lacquer boards with gilt-pictorial scene to upper cover, oblong folio and preserved in the original protective cloth bag with owner’s name of Wagner sewn on (1)

(1)

£200-300

£700-1000

254 China. An album of 190 mounted mostly gelatin silver prints, circa 1903, compiled by a French official, mostly snapshots including people and views, temples and ruins, 2 photographs by Rafael Moreau, sporadic brief annotations and sometimes on the image, places include Na Po, Singapore, Seoul, Tchong-Sou, Tchou-Sa, etc., many images approximately 8 x 11cm and similar sizes and mounted or tipped on to album leaf mounts rectos and versos, the largest photographs 17 x 23cm, some scattered abrasion marks to photograph surfaces and spotting to mounts, a total of 190 photographs on 25 stiff card leaves, contemporary gilt-pictorial lacquer boards with onlays, some edge wear, upper cover neardetached and spine deficient, oblong folio (1)

£500-800

256 Coburn (Alvin Langdon, 1882-1966). London, By G.K. Chesterton, with Ten Photographs by Alvin Langdon Coburn, privately printed, 1914, ten photogravures tipped in, mostly approximately 12.5 x 8cm and similar, a few minor spots including one to image II, signed presentation inscription from the photographer to W.D. Dickie to front free endpaper, dated 25 February 1955, partly uncut, original holland-backed printed boards, a few minor spots, 8vo First privately printed edition. Provenance: From the great nephew of W.D. Dickie who was the chief brewer for Madeira’s Brewery. Coburn often holidayed in Madeira in the 1950s where he and his wife became good friends with Dickie.

(1) £300-500

Lot 255

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Lot 258

257* Coburn (Alvin Langdon, 1882-1966). Men of Mark, proof copy, 1913, 30 pp. plus one (of 33) tipped-in sepia photogravure plates of George Bernard Shaw with number and facsimile signature to mount beneath, together with a four-page printed prospectus for the work, all disbound and unstitched as issued, plus six further photogravure portraits for Men of Mark, all proofs before letters with no printed plate number or facsimile signature, subjects being Edward Carpenter (1844-1929), Harley GranvilleBarker (1877-1946), William Dean Howells (1837-1920), William Orpen (1878-1931), Theodore Roosevelt (1858-1919) and Max Weber (1881-1961), each approximately 20.5 x 15.5cm, all identified in pencil on the mounts by Coburn and tipped on to mounts different from the printed version, contained in a later purposemade cloth book box, folio (1)

£300-500

258* Conrad (Joseph, 1857-1924). Half-length portrait, St Enoch Hotel, Friday 20 April 1923, gelatin silver print photograph by James Craig Annan with two credit stamps to verso, ‘Annan, Photographer, Glasgow’ and ‘Copyright T. & R. Annan & Sons’, 20.5 x 15.5cm (8 x 6ins) One of the series of photographs taken of Conrad in his rooms at the St Enoch Hotel, Glasgow, prior to setting sail for the United States. This is the portrait utilised for the dust jacket of the eighth volume of the Collected Letters.

(1) £100-150

259* Coster (Howard, 1885-1959). Portraits of William Wymark Jacobs (1863-1943), Charles Langbridge Morgan (1894-1958), Edward Verrall Lucas (1868-1938) and Sir Alan Patrick Herbert (18901971), circa 1930s, 4 vintage gelatin silver prints, various poses, each signed ‘Harold Coster, London’ in white china ink to lower area of image, 26.5 x 21.5cm and similar sizes, photographer’s copyright stamp to versos, framed and glazed (4)

Lot 259

£200-300

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260* Coxwell (Henry Tracey, 1819-1900). Portrait of the early balloonist/aeronaut Henry Tracey Coxwell, published Negretti and Zambra, Crystal Palace, circa 1863, albumen print carte de visite, three-quarter length, seated with small balloon in his right hand, small nick to lower left margin affecting image, imprint details to lower mount (1)

£100-150

261* Curtis (Edward S., 1868-1954). Vanishing Race, Navaho, 1904, orotone photograph, gold signature in the plate lower right, 27 x 34cm (111 x 14ins), orig. Curtis studio frame, without descriptive label and studio label to the reverse, backing paper torn, overall 41 x 48cm (16 x 19ins) A nice example of Curtis’s most famous print, produced as photogravures, orotones (printed on glass and backed in gold), platinum and silver gelatin prints in various sizes.

It is believed that each format and size appeared in editions ranging from 50 to 200 copies. Of this photograph Curtis wrote: ‘The thought which this picture is meant to convey is that the Indians as a race, already shorn in their tribal strength and stripped of their primitive dress, are passing into the darkness of an unknown future. Feeling that the picture expresses so much of the thought that inspired the entire work, the author has chosen it as the first of the series [for the ‘North American Indians’ project].’

(1) £3000-5000

Lot 260

Lot 261

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262* Curtis (Edward S., 1868-1954). Three Chiefs, Piegan, circa 1900, sepia-toned gelatin silver print, cut down into circular shape and mounted on card, near-contemporary circular wooden frame (broken), glazed, image size 342mm (13.5ins) diameter (1)

£400-600

263* Design and Architecture, etc. An assorted group of mostly mounted albumen prints, c. 1880s, including seventy interior views of the Alhambra (many credited Senan and Gonzalez in the negative), images 26 x 19cm, together with seventeen similar sized contemporary mounted photographs of historic buildings by Alfredo Noack of Genoa, forty photographs of furniture, textiles, etc., mounted to rectos and versos of thick card mounts, plus nine other miscellaneous design studies after A. Vicard (faded and soiled), and Mudd (James, 1821-1906), A group mansion exterior with large posed group, c. 1870, photographer’s credit in the negative ‘J. Mudd Photor., Manchester’, lower right, 23 x 30cm (9 x 11.75ins), original paper mount (approx. 80)

Lot 263

£100-150

264 Downey (William & Daniel). The Cabinet Portrait Gallery, 5 volumes, [1st-5th series], 1890-94, 180 mounted Woodburytype portraits, all on stubs as issued, occasional spotting to text leaves and mounts, contemporary red half morocco gilt, heavily rubbed and a little wear to some joints, 4to Sitters include Tzar Nicolas, Oscar Wilde, Sarah Bernhardt, Lillie Langtry, Thomas Hardy, T.H. Huxley, George Bernard Shaw, Queen Victoria, J.M. Barrie, Frederick Leighton, Henry Irving, and many other royal, literary, musical and political celebrities of the day.

(5) £400-500

265* Drtikol (Frantisek, 1883-1961). Semi-nude male in athletic pose, circa 1925, vintage bromoil gelatin silver print, embossed credit to lower left of image, 203 x 165mm (8 x 6.5ins), original card mount The subject is believed to be Dr A. Wood Smith of Llanbedr Hall, Ruthin, North Wales.

(1) £700-1000

Lot 265

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267* Early photography. A group of 10 good early photographs, circa 1870s, including 4 carbon prints by Dixon and Boot published

by The Society for Photographing the Relics of Old London, original mounts, three with ink stamp touching upper right corners, mounts slightly chipped, two carbon prints from Galerie Contemporaine of Gounod and Erckmann-Chatrian, two early French views by Collard, 1860s, an albumen print by Giraudon’s Artist and an albumen print tree study of an Araucaria tree in modern mat, various sizes but mostly large format (10)

£150-200

266* Early Colour Photography. A colour stereo glass slide by Auguste et Louis Lumiere, before 1907, showing a grand French interior, photographers’ credit and other details to left and front margins front and back, near-invisible hairline crack to left image, 8.5 x 18cm, together with another similar, depicting a vase of flowers on a window-lit table, a few small marks, no photographer details or inscriptions, 8 x 17cm, plus a colour glass plate of an unidentified man, made by bonding three image glass plates together, 8.5 x 9.5cm, plus two of the three glass plates of the same image without seals and two of the three glass plates of a smaller colour slide of an unidentified woman The Lumiere process for colour photography was one of the earliest and most successful. The brothers began experimenting with colour photography during the 1890s, and in 1895 introduced and patented a subtractive colour process which used sheets of paper coated with bichromated gelatin glue and small amounts of silver bromide. By 1907 they had begun commercial production of their colour plates using the autochrome process and the stereo slide here probably dates before then. See Brian Coe, ‘Colour Photography: The First Hundred Years 1840-1940’ (1978).

(5) £100-150

268* Early photography. A group of 11 salt prints or lightly salted albumen print photographs, 1850s/1860s, including one handcoloured vignette portrait of an unidentified man by Gustave Le Gray, circa 1858-60, 20 x 15cm, contemporary oval mat with label to verso and printed signature to margin of image, two faded salt prints of Bristol by Hugh Owen, early 1850s, both somewhat faded, 18 x 22cm and slightly smaller, lightly albumenised salt prints of Lockington Rectory and St. Mary’s Church, Lockington, Yorkshire, 18 x 24cm and similar, plus a rural view near Dorking, Durham Cathedral, a salt print of St. John Lateran, Rome, another of an unidentified house, mostly similar sizes, plus a salt print by L. Sacci of an Old Master drawing and a small salt print of an unidentified couple (11)

Lot 267

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£200-300

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269* Edis (Olive, 1876-1955). Portrait of John Galsworthy (18671933), circa 1930, vintage platinum print, half length in profile, seated and correcting a manuscript on his lap, 28 x 36cm, signed in pencil

by Olive Edis to lower mount, framed, together with another vintage gelatin silver print portrait of Galsworthy, circa 1927, head-andshoulders portrait with spotty tie, 31 x 22.5cm, indecipherable signature in pencil to lower mount, framed and glazed, plus 4 further photographs by Olive Edis, 2 portraits of George Bernard Shaw, each 19.5 x 14.5cm, mounted as a pair, framed and glazed, plus platinum prints of Mrs Eleanor Birrell, 20 x 15cm, flush mounted on cream card, with photographer’s embossed name stamp lower right and studio details to verso, plus a three-quarter length seated portrait of Emmeline Pankhurst, seated with an open book on her lap, torn at left lower corner with loss, 20.5 x 15.5cm (5)

Lot 270

£200-300

270* Egypt. A pair of carbon prints, early 20th century, one featuring a narrow alley scene with figures, the second a river scene with palm trees and mosque, 29 x 22cm and the reverse, both framed and glazed in matching frames by Thacker & Co., Bombay, labels to frame versos (2)

£100-150

271 [Eiffel Tower]. La Tour Eiffel [gilt-titled to upper cover], [Paris, 1889], an album of 8 albumen print photographs of the Eiffel Tower at the Exposition Universelle, 1889, each approx. 215 x 280mm (8.5 x 11ins) or the revserse, each with negative number, caption and ‘N.D. Phot.’ credit to lower margin of image, mounted one to a page on four stiff card leaves with printed headings and titles to mounts, images somewhat faded, all edges gilt, original half morocco gilt over cloth, rubbed and a little corner wear, oblong folio (1)

£300-500

272* Ely Cathedral. A group of 3 salt prints, circa 1850, one with short closed marginal tear and one with slight defects to right and lower margins, each 24.5 x 18cm (9.75 x 7ins) and slightly smaller, original card mounts on blue paper, pencil titles to lower mounts (3)

£150-200

Lot 271

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273 Eton & Cricket. A memorial album of Eton, early 1860s, containing eleven mounted albumen prints on ten leaves, including one arched top albumen print of a cricket match at Eton, showing twelve cricketing figures and Eton College in the background, 175 x 230mm (7 x 9ins), signed by the photographer in pencil to mount beneath ‘Victor A. Prout’, the two following albumen prints [by Prout] showing river views featuring Prout’s boat, each approximately 21.5 x 27cm, all three with printed publisher details of Ingalton & Drake, Eton, five of the remaining photographs with printed details of Hills & Saunders to mounts beneath, all approximately 22 x 27cm and similar sizes, subjects including a river view, a street scene in Eton and the chapel exterior and interior, one further unattributed photograph of similar size showing the chapel interior and two smaller format photographs on one page showing street scenes in Eton with figures, heavy spotting to a few leaves and old damp stain to inner upper margin not affecting photographs, contemporary presentation inscription, ‘Emlyn, Eton, December 15th 1864, In Memoriam’ to front free endpaper, original half calf with gilt armorial of Eton College to upper cover, heavily rubbed and soiled, oblong folio (36.5 x 50cm) One of the earliest photographs of a game of cricket and possibly the earliest photograph of a school cricket match.

The early, and previously unknown, cricket photograph in this album probably dates from circa 1862, some five years after the earliest photograph of a cricket match so far identified: a cricket match between the Royal Artillery and the Hunsdonbury Cricket Club at the Honourable Artillery Ground in Islington, London, 25 July 1857. That photograph was taken by Roger Fenton, founding member of the Royal Photographic Society and famous for his photographs of the Crimean War. Victor Albert Prout (1835-1877), a celebrated photographer and artist worked both in London and Australia. He was the first person to photograph the interior of Westminster Abbey (1860) and was photographing along the River Thames from 1857 onwards. Prout had been commissioned to illustrated Mr and Mrs S.G. Hall's The Book of the Thames: From its Rise to its Fall (1859) but for unknown reasons the book was published a year early using wood engravings and without Prout's photographs.

The first edition of Prout's The Thames from London to Oxford in Forty Photographs was printed in two series in 1862 by Virtue & Co. The photographs in this rare work (which saw a second edition with thirty-six photographs) features panoramic photographs, each measuring circa 12 x 27cm. The three photographs in this album are not panoramic (unless cropped) and do not feature in his published work. Prout's boat, however, does feature in a number of photographs and the two unsigned photographs must also be by Prout.

For further information see Joan Osmond, Victor Albert Prout: A Mid-Victorian Photographer (1835-1877), published J. & J. Osmond, 2013. However, the cricket photograph here is unknown to the author. For The Thames from London to Oxford in Forty Photographs see Parr & Badger, The Photobook: A History, vol. 1, p. 67.

(1) £500-800

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274 Europe. An album of gelatin silver print snapshots taken by William Lockhart, 1899-1902, a total of 339 gelatin silver prints, corner mounted and mostly with negatives tucked in behind, numbered 1-352 with a few gaps, subjects include Scotland, Germany and the Rhine, Belgium, Netherlands, France, a mix of buildings, views, portraits and genre subjects, all approximately 6 x 8.5cm or the reverse, photographer’s details and his use of FPK Films and dates 1899-1902 inscribed to front pastedown, contemporary half morocco, worn, upper cover detached, folio (1)

£100-150

276* Female nudes. A group of 30 gelatin silver prints of female nudes and dancers, some by Roye, circa 1935, various sizes including some larger format (30)

275* Europe. An album of approximately 40 albumen prints, circa 1870s, mostly buildings and views in Britain plus a few of Granada and other European cities, various sizes, hinges broken, contemporary cloth gilt, rubbed, 4to, together with 5 albumen print views of London, circa 1880s, including one by James Valentine of Ludgate Circus, 19.5 x 29cm and four by Society for Photographing Relics of Old London, approximately 17.5 x 23cm and similar, all on original mounts, last four chipped with loss, plus a half-length albumen print portrait by Maull & Polyblank of George Hamilton Gordon, 4th Earl of Aberdeen (1784-1860, prime minister), arched top on original mount within gilt border and with printed details below, mount spotted, image size 19.5 x 14.5cm (7)

£100-150

277* Fenton (Roger, 1819-1869). Discussion Between Two Croats, published by Thomas Agnew & Sons, March 25th 1856, salt print on original mount with printed caption and details to lower mount within plate impression, image 18.5 x 15.5cm, some spotting to mount

£200-300

From the album ‘Incidents of Camp Life: Photographs of the Seat of the War in the Crimea’, 1856.

(1) £200-300

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278* Fenton (Roger, 1819-1869). Lichfield Cathedral, West Front, circa 1858, arched top albumen print on original mount with photographer’s credit to lower margin, spotting to mount, image size 253 x 285mm (10 x 11.25ins), together with another larger partly faded and stained arched top albumen print by Roger Fenton of an unidentified manor house, 345 x 435mm (13.5 x 17ins), original mount with photographer’s credit to lower margin, some soiling and marginal splits to mount (2)

280* Flowers. A group of 16 hand-coloured albumen prints of flowers and some fruits by Pietro Guidi, circa 1870s, rounded corners, each 26 x 21cm on original mounts with adhesion marks to margins

£200-300

(16)

279* Film stills and lobby cards. A large collection of approximately 1,200 photographic lobby cards and film stills, circa 1950s/1970s, mostly black and white but including some colour and largely grouped in plastic bags, films include Commandos, The Song of the Red Ruby, Gunsmoke in Tucson, Hellfighters of the East, The Glory Brigade, The Mating Season, The Stepmother, Death Blow, Killer of Killers, etc., many with printed captions to mounts and some with credits to verso, all 20 x 25cm and similar (approx. 1200)

£1500-2000

281* France. A group of 6 mounted albumen print views, circa 1870s, including two views from E. Soule’s ‘Luchon et ses Environs’, rounded corners, 22.5 x 16cm and the reverse, printed details at head and manuscript title at foot, together with similar size views of towns including Pau and a street scene in Biarritz(?), plus a mounted albumen print of Royal Crescent, Bath, 16 x 20cm

£200-300

(7)

87

£200-300

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282* Frith (Francis, 1822-1898). Jerusalem from the Mount of Olives, 1857, mammoth albumen print on original card mount with imprint details at foot, damp-staining to mount, 374 x 468mm (14.75 x 19ins) From the album ‘Egypt, Sinai and Jerusalem: 20 Photographic Views’ (1858).

(1) £500-800

283 Frith (Francis). Sinai and Palestine, published William Mackenzie, [1862 or later], additional title with mounted vignette albumen print and first 18 (of 36) mounted albumen prints, 15.5 x 23cm, each with accompanying leaf of letterpress, old waterstains to upper and lower margins not affecting photographs, preliminary leaves slightly spotted and dust soiled, original half morocco with gilt-titled upper cover, soiled and worn, covers detached and backstrip deficient, folio (1)

Lot 282

Lot 283

88

£700-1000

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285 Great Britain & New Zealand. A pair of late 19th-century photograph albums, containing mounted albumen print views of mostly British scenes and portraits including the Hertford Brewery Fight Brigade, Whit Sunday 1898, three photographs relating to support for Women's Degrees at Cambridge, 1897, family and recreational photos, cartes de visite including some of notables of the day including Oxford boat crews, 1863-67, mostly mounted as multiples on stiff card mounts with captions to mounts, loosely inserted 5 New Zealand albumen prints including 3 of Maoris (one

by Marston and one by Mercer), plus 2 of trees and vegetation, all 20 x 25cm, the albums contemporary half morocco/cloth, worn, oblong folio/4to (2)

£200-300

284* Good (Frank Mason, 1839-1928). A group of 4 albumen prints of Lulworth, Dorset, circa 1860s, some slight spotting, individual contemporary album mounts with manuscript captions at foot, ‘Lulworth west from Fort Nelson’, ‘The millpond, Lulworth Village’, ‘Durdle arch near West Lulworth’, and ‘Lulworth Hotel’, the latter with several figures, each 24.5 x 30cm (4)

£150-200

286* Greece & Italy. A group of approximately 50 albumen prints, circa 1860s/1880s, mostly buildings and views including many in Athens, plus Rome, Venice, Paestum, Sicily, etc., various sizes, some loose but many mounted including some back to back (approx. 50)

£200-300

287 Greece. An album of 60 collotypes from photographs by Rhomaides, Athens, circa 1900s, views and statues, all numbered and titled in the negative, mostly 22 x 29cm and mounted back to back on thick card leaves, contemporary half morocco gilt with good quality red morocco reback (1)

Lot 285

89

£150-200

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289* Gutch (John Wheeley Gough, 1808-1862). A group of 8 salt prints from wet collodion negatives, mid to late 1850s, showing architectural views in the West Country, 15 x 20.5cm and similar sizes, together with a biography of Gutch by Ian Sumner (2010), signed by author, original pictorial wrappers, oblong small folio (9)

£150-200

288 Gutch (John Wheeley Gough, 1808-1862). Sketches on the Continent, 1828 to 1835, J.W.G.G. [so title on upper cover], an album of approximately 90 pencil sketches, made using a camera lucida, mostly 1834 and 1835, including 35 views dated between January and May 1835 with views in Italy and Switzerland, a further group of 40 studies dated 1834 showing views of Florence, many from Gutch’s villa, including views of the new observatory under construction, many views loose and some tipped to album pages with pencil dates and captions to margins, some with watermark of Whatman, Turkey Mill 1830, 15.5 x 22cm (6 x 8.75ins) and smaller, Gutch’s armorial bookplate to front pastedown, contemporary half morocco with gilt-titled leather label to upper cover, contents largely loose, worn, upper cover detached, oblong folio John Gutch was born in Bristol in 1808 and trained as a surgeon. In the early 1830s he was working as a private physician in Florence and spent four months travelling back to Britain in early 1835. Some of the earliest sketches show Lake Geneva in July 1831, his efforts being very similar to those of W.H. Fox Talbot, who sketched around Lake Como two years later. See ‘Fox Talbot and the Invention of Photography’ by Gail Buckland, 1980, pp. 26-27; ‘In Search of the Picturesque: The English Photographs of J.W.G. Gutch 1856/59’ by Ian Charles Sumner, 2010.

(1) £400-600

290* Heaney (Seamus, 1939-2013). Portrait taken at the Bloomsbury Hotel, London, 23 February 2010, by Lucinda DouglasMenzies (born 1965), vintage gelatin silver print, head and shoulders, head turned to the right, photographer’s credit stamp and title caption signed in pencil by the photographer to verso, framed and glazed

Lot 289

Lot 291

(1)

90

£300-500

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291* HMS Dorsetshire - China Station. A photograph album of approximately 50 gelatin silver print snapshots, circa 1937, mostly showing tourist views in China and occasional photographs of Chinese figures, all corner mounted but some loose and some absent, contemporary suede with spine tie, upper cover with pen and ink and gouache drawing titled HMS Dorsetshire, slightly rubbed, oblong folio, together with a slightly earlier album compiled

by P. Dawson (stoker), HMS Titania, China Squadron, Hong Kong, 1926, the album now largely blank except for captions, but with approximately 50 small-format gelatin silver prints loosely inserted, featuring Chinese views and figures, plus execution scenes including postcards and copy prints, etc., contemporary decorative cloth with spine tie, oblong 8vo, plus a small quantity of mostly printed Chinese and Japanese ephemera, including a slightly defective photo book on Shanghai with (at least) one plate and leaf of text torn with loss (a small carton)

£300-500

293* Hong Kong & China. An album of 25 corner-mounted gelatin silver prints, circa 1910, including town and harbour views, a tiger trophy, railways, etc., all postcard size and similar, corner mounted two to a page (one loose) in a contemporary album with handcoloured decorative leaves and lacquered boards with pictorial onlay to upper cover, some edge wear and leather spine partly defective, 4to, together with an octavo album of approximately thirty cigarettecard size commercial Japanese photos, a miscellaneous group of approximately fifty postcards and a group of twenty postcard-size photos taken by a British soldier in Egypt, circa 1920 (-)

294* Hong Kong & Far East. A group of 3 albumen print views, late 1870s, two showing Hong Kong harbour and one of Joss House, contemporary album mounts with pencil captions, the two first identifying Wellington Barracks and Murray Barracks, etc., approximately 20 x 28cm and similar, plus a fourth album leaf with eighteen smaller-format albumen print photos of Japanese and Chinese interest, mostly carte-de-visite sizes, all but two showing figures and one not from life, subjects include travelling barber, rickshaw, water carrier, etc.

292 HMS New Zealand. A well-presented album of approx. 200 corner-mounted gelatin silver print photographs, circa 1919, two printed sheets of the ships’ officers (including Admiral Viscount Jellicoe of Scapa) pasted to front endpapers, the mostly postcardsize photos arranged four to a page throughout and neatly captioned in ink to mounts beneath, showing officers, calling at Port Said, Gibraltar, Suez Canal, Bombay, Ceylon, Albany (Australia), Adelaide, Melbourne, Sydney, Tasmania, Wellington, Auckland, Picton, Samoa (native dances), a few photos detached, ‘Freedom of the Seas’ card made out to the album’s presumed compiler C.A. Fittock at front of album, a few photographs of Jellicoe (and one of his wife) also included, contemporary half morocco, rubbed, folio (1)

£200-300

(4)

£200-300

91

£400-600

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295* Hong Kong. A group of 10 gelatin silver prints, 1905-1906, including 2 photographs of the opening ceremony group at Tai Koo dockyard, 1905, 19.5 x 28cm, 5 photographs of typhoon damage, 18 September 1906, 10 x 15cm, one of a junk and sampans, 10 x 15cm, one of the ‘Ape Nade’ ashore at Stonecutter’s Island, Hong Kong typhoon, 1906, and one of Canton, China, both 7 x 9.5cm, all in modern mat mounts (10)

297* Hong Kong. A group of 12 gelatin silver prints, mostly 1930s, including 2 views of Fanling Golf Course, 19 x 25.5cm, view across the harbour to Kowloon, from the Hong Kong Bank, 19 x 25.5cm, Taikoo dockyard, 17 x 22cm, Chinese lady’s bound feet (1920s), figurehead of HMS Tamar, Hong Kong at night, Amah Rock (x2), Regiment Monument, Happy Valley Cemetery and Armistice Day with Governor Sir Andrew Caldecott, all approximately 10 x 15cm and similar sizes, modern mat mounts

£200-300

(12)

£200-300

296* Hong Kong. A group of 8 gelatin silver prints, 1905-06, including views of Glenealy Road, Botanical Gardens, Arthur Kennedy monument (Botanical Gardens), Chamber in the temple of the flowery pagoda, Canton, Chamber in medicine temple, Canton, European visitors at temple at Cheung Chau, Flower pagoda, Canton, and view of Macao, with the first Roman Catholic church, all 10.5 x 15cm, modern mat mounts (8)

£150-200

Lot 289

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298* Hong Kong. A group of 11 gelatin silver prints, circa 1905-10, including Sing Lee forman (by Fong Wai), Chinese prisoner with cangue, lawbreakers outside the gateway to old Kowloon, carrying out repairs, liquor shop, funeral in Pokfulam, planting rice (China), European visitors at temple at Cheung Chau (x 2), Hua Lin temple, Xia Jiu Lu, Canton, Russian prisoners of war at Kowloon, sizes approximately 10 x 15cm and smaller, modern mat mounts (11)

£200-300

301* Hong Kong. ‘19. Destruction of Ball’s Court’, after the typhoon of 1874, by Lai Fong (Afong Studio), albumen print, 21.5 x 27cm, mounted on archival card with original printed label mounted below (1)

£200-300

299* Hong Kong. A pair of albumen prints showing before and after the execution of Namoa pirates at Kowloon City, Hong Kong, 1891, 19 x 25.5cm, modern mat mounts (2)

£100-150

300* Hong Kong. A group of 5 albumen prints, circa 1880s/1890s, including a photograph of a Mandarin in a sedan chair, 14 x 19.5cm, Chinese passenger wheelbarrow, Shanghai, paddle steamer ‘Kin Shan’, Pearl River, the Peak looking from the east, and city hall decorated for Queen Victoria’s Diamond Jubilee, all 19 x 25.5cm and slightly smaller, modern mat mounts (5)

302* Hong Kong. A group of 3 albumen prints by John Thomson, 1869, including Chinese street prepared for illumination, Lyndhurst Terrace, cropped to oval with upper margin of print slightly trimmed, 26 x 23cm, the city hall, royal visit, 22 x 28.5cm, and the Hong Kong Club and Hong Kong Dispensary in Queen’s Road with decorations, 24 x 29cm, all with some fading, contemporary card mounts

£200-300

(3)

93

£200-300

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303* Hong Kong. Queen’s Road Central, European decorations, 1897, albumen print by R.C. Hurley, 20.5 x 28cm, original mount with printed below, together with another late 19th-century albumen print by an unknown photographer of Queen’s Road West with crowds, 20.5 x 26cm, original mount (2)

305* Hong Kong. A group of 3 albumen prints by William Prior Floyd, 1869, including quay, waterfall at Pok Fu Lam with Victoria Peak in the distance, and cemetery, Happy Valley, all 20.5 x 26.5cm and similar, the first on original mount with manuscript caption to lower margin, the second and third on archival mounts

£200-300

(3)

304* Hong Kong. A group of 4 albumen prints by unknown photographers, circa 1870s/1890s, including views of the public gardens overlooking Government House, 20 x 27.5cm, view of Central East Point, with foliage and plant pots in foreground, 21 x 27.5cm, Shau Ki Wan Road, May 1889, 29 x 24cm, and Hong Kong fountain (Dent’s Fountain), 22 x 26cm, captioned in the negative, the first three on archival mounts, the last on contemporary mount with a view of the harbour of Point de Galle Island, Ceylon, to verso, 19 x 23.5cm (4)

£200-300

306* Hong Kong. A group of 3 albumen prints by William Prior Floyd, 1869, including Botanical Garden, taken from Albany Road overlooking Government House and around the bay at East Point, with Kellet Island visible, 20.5 x 26.5cm, original mount with manuscript title to lower margin, plus two further views with ships in the harbour showing a view of gate and rooftops and a view from Government House, looking east, 18 x 24cm and 19 x 28.5cm, both on archival mounts, the last with original printed label to lower margin

£200-300

(3)

94

£300-500

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307* Hong Kong. A group of 6 albumen print views by William Prior Floyd, 1869, including College Garden Road, signed Floyd in the negative, 18 x 26.5cm, Public Garden (central view), 17.5 x 25.5cm, ice house, 17.5 x 23.5cm, cathedral, the parade ground, 18 x 26cm, entrance to Jardine’s garden, 17.5 x 28.5cm, Zetland Lodge, some surface loss, 22 x 21.5cm, all on archival mounts and five with original labels mounted beneath (6)

309* India & Ceylon. A group of 27 mounted albumen prints of India by William Baker, 1870s, mostly temples and other buildings in Agra (10), Bharatpur (4), Deeg (4), Fatehpur Sakri (5) and Bindraban (4), photographer’s signature and negative number in the negative, 23 x 30cm, original mounts with English pencil captions to lower mounts, together with a group of 8 mounted albumen prints of Ceylon, circa 1880, mostly views of estates and including two by Apothecaries Company, 24 x 29cm, original mounts

£300-500

(35)

£300-500

310 India & Europe. An album of approximately 70 mounted gelatin silver print photographs, circa 1910s/1920s, relating to life at St. John’s College, Agra, and including group portraits, buildings and views, some street scenes and postcard-size photographs of indigenous people, plus a series of 24 small snapshots of a journey through Suez mounted on one leaf, some ink captions to mounts, some leaves blank, a second album containing approximately 150 mounted albumen print views of Britain and Europe, ink captions to mounts, heavy spotting throughout, both contemporary half morocco, rubbed and first spine torn, folio

308 Hunt (Robert). A Popular Treatise on the Art of Photography, Including Daguerreotype, and all the New Methods of Producing Pictures by the Chemical Agency of Light, 1st edition, Glasgow, 1841, engraved lithographic frontispiece, wood-engraved illustrations to text, original printed pale yellow wrappers, spine slightly darkened with small paper loss at head and foot, 8vo, contained in purpose-made cloth book box A fine and scarce first edition of ‘The first general treatise on photography on metal, on paper, and on glass’ (Gernsheim, ‘The History of Photography’, p. 80). The frontispiece showing an image in positive and negative is among the earliest such illustrations. Gernsheim, Incunabula 653.

(1) £700-1000

Provenance: Louis Stahlschmidt from Hanover, who went to India as a missionary around 1900, teaching at St. John’s College, Agra.

(2) £150-200

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311 India - North West Frontier. An album of 134 photographs on 27 leaves, circa 1909-19, mostly gelatin silver prints, including a photograph of the Aker tribe (23.5 x 29cm) and 17 further smaller prints with the stamp of the photographer Bhuttacharge Rutnashur, mostly studies of indigenous people and postcard size or larger, also a series of 33 photographs of sections of the Bombay railway and hills, each 22.5 x 28.5cm and similar, a group of 22 Afghanistan views and studies by Randolph Bezzant Holmes, credits in the negative, 24 x 29cm and similar sizes, other photographers identified include T. de la Touche and Stewart & Son, plus many of people and views by an unidentified photographer, many 10 x 12cm, largely neatly captioned in ink on stiff card mounts and mounted as multiples back to back throughout, but also including 16 related postcards and a small watercolour, plus a few photo views of New Zealand by James Valentine, also loosely inserted 6 smaller album leaves with 30 mounted small-format gelatin silver prints relating to the Mohmand Blockade, 1916, the Marri Field Force 1918 and the Afghan War 1919 (road making), ownership signature of Hyacinth Hooker to front endpaper and armorial bookplate of Joseph Symonds Hooker to front pastedown, contemporary half morocco, cover detached, backstrip deficient, folio (55 x 37cm) Captain Joseph Symonds Hooker (1877-1940) was the second son to the great British botanist and explorer Sir Joseph Dalton Hooker (1817-1911) from his second marriage to Hyacinth Symonds in 1876. He served in the Boer War and was a captain in the Indian regiment in 1914.

(1) ÂŁ1000-1500

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Lot 313 312 India. A pair of photograph albums documenting the career of Captain N.L. St Pierre Bunbury, 1909-14, the first album concerning his training at the Royal Military College, Camberley, Surrey, a total of approximately 70 gelatin silver prints showing comrades, groups, training, etc., the second album of approximately 75 gelatin silver print photographs recording his time in India, locations including Delhi, Ranikhet, Nani Tal, Agra, Quetta, Shillong, Fatehpur, Sikri, Satara and Robat, with further portraits of military and social groups including regattas and amateur dramatics, plus views, camp life, etc., photographs 22 x 28cm and smaller with many as pairs or multiples to a page, neat ink annotations to mounts and some scattered other ephemera, mounts somewhat browned and chipped and contents generally loose in contemporary half morocco, worn with old tape repairs to spines, oblong folio, together with other Bunbury family ephemera including a good album of 23 drawings and caricatures by Sir Henry Bunbury, circa 1818, a total of 23 pen and ink, pencil and watercolour drawings, mostly full sheet size (20 x 15.5cm), some initialled or dated, ownership and family provenance inscribed to front endpapers with title ‘Album Bunburiense’, 1818, contemporary straight-grained calf, some wear with loss at head of spine and upper cover detached, small 4to, plus a manuscript part journal compiled by Captain W. Bunbury, late August 1885, 35 leaves, remainder blank, recording an uneventful voyage onboard SS Iberia from Gravesend in England to Adelaide in Australia, contemporary roan, rubbed, 4to, plus a Bunbury visitors’ book, 1924-42 and 5 printed books with ownership signatures and bookplates of various Bunburys (10)

£500-800

313* India. A group of 40 albumen prints, circa 1870s/1880s, mostly temples and views but including some portraits and one of ships at Calcutta, circa 1865, two signed by Bourne in the negative, various sizes, some loose but mostly on contemporary album mounts and including some back to back (40)

£150-200

314 India. A group of 9 albums of window-mounted gelatin silver prints, circa 1900-1910, probably taken by a British Army Officer [?5th Devonshires], including views of Multan, Dalhousie, Darjeeling, plus military and colonial activities including game hunting, contemporary cloth, some soiling and wear, various sizes (9)

£300-500

Lot 314

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315 India. A large album of albumen prints and engravings, circa 1860s, including 6 photographs of race horses with attendants and one related photograph of a group of jockeys and two of racing cups, each 6.5 x 10.5cm on paper mounts with printed captions beneath, plus approximately 45 other mounted albumen prints of Indian views, military portraits, and related, late 1850s and early 1860s, 20 x 25cm and smaller, some pencil captions to mounts, mounted mostly as multiples to album leaf rectos only and with mounted engravings of horses, dogs, etc. on 13 leaves, some edge fraying, contents loose in contemporary half morocco, worn, oblong folio (36 x 51cm) (1)

317* India. A large group portrait of emaciated men and boys during the Great Famine, Belgaum, 1876, albumen print on contemporary card, 160 x 238mm (6.25 x 9.25ins), ink caption to lower mount, a later and starkly contrasting group photograph of a large British party of men and women at Chaubatia, Raniket, 1891, 20.5 x 27cm (1)

£300-500

318* India. A group of 3 snowy mountain scenes including two views of Pir Pangal by William Baker, all circa 1860s, albumen prints, the two by Baker signed and numbered (1124 & 1125) in the negative, both 21.5 x 29.5cm (8.5 x 11.5ins), the third and similar with negative number 106 visible in the right upper margin, 21.5 x 29.5cm (8.5 x 11.5ins), contemporary paper mounts, the first two with neat ink titles to lower mounts

316* India. A group of approximately 32 albumen prints, circa 1870s, hill views, street scenes, river views, temples, etc., mostly medium and larger-format prints up to 22 x 29cm, contemporary mounts, some as multiples and many back to back (approx. 32)

£200-300

(3)

£200-300

98

£200-300

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320* Italy. A group of 5 large albumen prints, circa 1860s, including one of a frieze by Altobelli & Molins with stamp to lower mount, 27.5 x 35.5cm, another of a Roman fountain and temple with two small closed tears in image where lifting from mount, 27 x 38cm, plus three photographs of wall painting in the basilica of St. Clement, Rome, each 25 x 32cm or slightly smaller, original mounts with printed captions beneath, all mounts somewhat soiled and frayed at margins, plus a large albumen print of a Middle Eastern mosque [by F. Meissner, 1860s], 26.5 x 42.5cm, original mount, some marks to image and mount (6)

£200-300

321 Italy. An album of 60 mounted albumen print photographs, circa 1890s, views, buildings, ruins, sculptures and paintings in Rome, Florence, etc., many with printed caption in the lower margin, approximately 20 x 25cm and similar sizes, mounted back to back on stiff card leaves, contemporary diced calf, some wear and upper cover detached, oblong folio, together with an album of approximately 150 mounted albumen print views in Britain and Europe, circa 1890s, various sizes, some loose but most mounted as multiples and back to back on stiff card leaves, contemporary half morocco, backstrip deficient, folio (2)

£100-150

319* Irving (Henry, 1838-1905). Portrait by Henry Herschel Hay Cameron, 1893, sepia photogravure of the actor as Thomas a Beckett in ‘Becket’, head and shoulders in profile, signed and inscribed by the sitter in ink to lower part of image, ‘To F.C. Burnand from Henry Irving, 1893’, 41.5 x 34cm (16.25 x 13.25ins), framed and glazed The dedicatee was presumably the playwright and humorist, Sir Francis Cowley Burnand (1836-1917). This portrait by Julia Margaret Cameron’s son was made during the first run of Tennyson’s play in 1893. Twelve years later, on 13 October 1905, Henry Irving collapsed after a performance of ‘Becket’ in the lobby of the Middleton Hotel, Bradford, and died in the arms of his dresser, Walter Collinson. The chair in which he was sitting when he died is now at the Garrick Club.

(1) £150-200

322* Jackson (William Henry, 1843-1942). The Aztec “Mother Goddess” Coatlicue, 1890, mammoth albumen print, a few marks and neat marginal repairs, wrongly titled in the negative as Teoyaomiqui and numbered 1132, mounted on archival board with mat, image 52.5 x 41.5cm This uncommon photograph was taken during Jackson’s second tour of Mexico in 1890 and published in the album ‘Vistas Mexicanas’.

(1) £300-500

Lot 320

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323 Japan. An album of 100 mounted albumen prints, circa 1870s, a mixed collection of landscapes, towns and street scenes plus portraits and tradespeople, all hand coloured in the negative and many with English captions and negative numbers in the image, 21 x 25cm, mounted back to back on fifty stiff card leaves, contemporary morocco black lacquered boards with gilt and black pictorial upper cover, red and grey highlights, a little edge wear and rubbing, spine worn, oblong folio (1)

ÂŁ700-1000

324 Japan. An album of 24 hand-coloured albumen prints, circa 1880s, including views of Nagasaki, Kobe, Osaka, Kyoto, Yokohama and Tokyo, etc., plus temples and five portrait groups, unidentified and unnumbered in the negatives, all approx. 20 x 26cm and mounted back to back on stiff card leaves and mostly with printed brief captions and numbers to mounts beneath, loosely inserted a three-part hand-coloured albumen print panorama of Nagasaki harbour, circa 1880s, partly pasted to album mount, 20 x 77cm, contemporary gilt pictorial black lacquered boards, some edge wear, covers detached and backstrip deficient, oblong folio (1)

Lot 323

Lot 324

100

ÂŁ300-500

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325* Japan. A group of 8 diapositive gelatin silver prints on glass, circa 1920, landscapes with some scattered colour tinting including landscapes with snowcovered Mount Fuji in the background, scenes with figures and young women, etc,. one glass cracked to lower corner, 29 x 23cm or the reverse, original wooden frames (8)

ÂŁ400-600

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326* Japan. An album of 45 colour-tinted albumen prints, late 19th century, views and portraits, many captioned and numbered in the negative, 20 x 25cm, mounted back to back on stiff card album leaves, some spotting and surface soiling to mounts, contemporary lacquered boards with gilt pictorial design to upper cover, some bone onlays from the three figures now deficient, neat leather reback, oblong folio, together with approximately 150 other mostly colour-tinted Japanese photographs, mostly similar sizes and many mounted back to back (a carton)

£300-500

328* Karsh (Yousuf, 1908-2002). Simon Ward as the Young Winston Churchill, 1971, vintage gelatin silver print, 32 x 25cm, mat mount with pencil details to verso of mount, and together with contemporary backing board from when previously framed, with signed presentation inscription from the sitter to verso, ‘To Sybil and Auberey, with my very best love, Simon’ This photograph of the actor Simon Ward (1941-2012) as ‘Young Winston’ and in the same pose as Karsh’s famous portrait of Winston Churchill (1941), was given to Auberon Waugh and his wife Sibyl by Simon Ward. This photograph was illustrated in Life Magazine, 1 December 1972.

(1) £200-300

329 Koppitz (Rudolf, and others). Pictures from the Tyng Collection, London: The Royal Photographic Society, June 1931, portfolio of six photogravures tipped on to card at left margins, tissue-guards present, printed information sheet loosely inserted, original printed wrappers with duplicated smaller format photogravure (11.5 x 15cm) mounted to upper wrapper, tall folio This portfolio was the first published by The Royal Photographic Society in June 1931. It was produced in honour of the Stephen H. Tyng Foundation and was available for purchase by The Society’s members. The first photogravure is Bewegungs Studie (Study of Movement) by Prof. Rudolf Koppitz (25.5 x 19cm), one of the most iconic and widely reproduced Austrian photographs of the early part of the twentieth century. Koppitz (1884-1936), who was actually of Czech origins but is more often credited as Austrian, originally created this masterful photograph in 1925. The nude dancer, credited to be the Russian Claudia Issatschenko, (but is more likely, her daughter, the ballet dancer and choreographer Tatyana Issatschenko Gsovsky b. 1901), is photographed with her head thrown dramatically back and flanked by three dark-robed women, portrayed by dancers from the Vienna State Opera. The other five photogravures in the collection are: St Malo by Arthur W. Burgess (20.5 x 25.5cm); A Russian Boy by Alexander Leventon (20.5 x 25.5cm); Mrs. Violet Gordon Woodhouse at the Harpsichord by Herbert Lambert (19 x 25.5cm); Groote Kerke Veere by John H. Anderson (19 x 25.5cm); and Muriel Evans by Arthur F. Kales (25.5 x 20.5cm).

(1) £1500-2000

327* Jersey. A group of 5 albumen print views of Jersey, circa 1870, being views of St. Brelades Bay, Rozel Bay, St. Aubin, Bouley Bay and Spring Vale, each 21 x 27cm and mounted on individual original card mounts, some spotting to mounts, loosely contained in contemporary worn portfolio (5)

£150-200

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Lot 329

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331* Literary Portraits. A group of four Woodburytype portraits of poets and authors, circa 1880s, including Alfred, Lord Tennyson, Robert Browning, oval ink library stamp to upper right corner just touching image, Henry Rider Haggard, all 24.5 x 17.5cm, all by Barraud, Tennyson in modern mount and Rider Haggard framed and glazed, plus a smaller portrait of Thomas Hardy by W. & D. Downey, 14 x 9cm, original mount, slightly split at right margin, plus a cabinet card and carte de visite of Wilkie Collins, circa 1860s, both framed and glazed with autograph sentiment mounted below (6)

330* Lawrence (Thomas Edward, 1888-1935). A photograph of T.E. Lawrence on his Brough Superior motorcycle (UL 656) with George Brough, 1930, printed circa 1935, gelatin silver print, the photograph showing Brough with two walking sticks and flat cap standing next to T.E. Lawrence on his motorcyle, light vertical crease near centre, 20 x 15cm, together with a typed letter signed from George Brough on his manufacturer’s letterhead, Nottingham, 3rd June 1935, addressed to C.W. Tarrant and referring to this photograph which he is enclosing, ‘which was actually taken outside my Works of Lawrence saying goodbye to me immediately after my accident in 1930’, one page, 4to

£200-300

332* Llewelyn (John Dillwyn, 1810-1882). Lake scene with tophatted man in a small boat by the near bank, circa 1855, salt print, 198 x 246mm (7.75 x 9.75ins) Acquired from the Llewelyn family.

(1)

This motorcycle was Lawrence's penultimate machine, acquired in 1929 and named George VI. George Brough was recovering from two broken legs sustained in a motorbike accident.

(2) £150-200

£300-500

333* Llewelyn (John Dillwyn, 1810-1882). River bank scene with trees and running water, circa 1855, salt print, 30 x 25cm (12 x 10ins), together with a salt print of a garden with wicker chair, circa 1855, 20 x 25cm (8 x 10ins)

Lot 331

(2)

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£400-600

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334* Llewelyn (John Dillwyn, 1810-1882). 3 still lives of birds, circa 1855, salt prints, the first of a pair of pheasants in a natural woodland setting, 19 x 24.5cm (7.5 x 9.75ins), the second of a dead and laid out small bittern, 194 x 150mm (7.75 x 6ins), together with a smaller salt print of the same photograph lying flat on top of another photograph, 150 x 130mm (6 x 5ins) (3)

£400-600

336* Lowell (Robert, 1917-1977). Portrait by Judith Aronson (born 1942), Cambridge, Massachusetts, 1977, vintage gelatin silver print, half length seated in part profile, 31 x 21cm, signed by the photographer to lower margin and with credit stamp to verso, framed and glazed (1)

£300-500

335* Lockey (Rev. Francis, 1796-1869). A manuscript exercise book compiled by Lockey, circa 1860, containing a list of his 369 large paper calotype negatives made between 1853 and 1860, 18 pp., remaining leaves blank, contemporary limp card covers, some loss to spine, small 4to, together with a group of 6 contact prints made from a selection of Lockey’s original negatives, circa 1910, 19 x 25cm and slightly larger, plus a copy of ‘Bath in Camera 1849-1961’ relating to the calotypes of Lockey, original printed wrappers, slim 4to Lockey was rector of Swainswick near Bath and photographed architecture and landscapes, mostly in Somerset and South Wales in the 1850s. The catalogue lists all of his paper negatives and details places and also where they were made as stereo pairs. Lockey made negatives 8 x 11 inches and often made prints for use in a Wheatstone stereo viewer. Many of Lockey’s negatives survive in the collections of St. Fagan’s, Cardiff and the Bath Literary and Scientific Institute.

(8) £150-200

337* Madeira. A group of 18 gelatin silver prints, circa 1900, village, town and rural views, some with pencil captions to versos, 17.5 x 23.5cm (18)

105

£200-300

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338* Male nudes. A group of 40 vintage gelatin silver prints, circa 1970, mostly individual three-quarter or full-length portraits of one or more British men, mostly 16.5 x 12.5cm and similar sizes (40)

£100-150

339* Malta. A two-part panoramic albumen print of Malta harbour, circa 1874, showing HMS Resistance, Defence, Warrior and Black Prince, with the Naval Hospital as a backdrop, three closed tears including one longer one to right margin, 18.5 x 50.5cm, mounted on a contemporary album leaf with pencil captions to lower mounts (1)

£70-100

341* Maxwell-Lyte (Farnham, 1828-1906). A group of 6 albumen print views of the Pyrenees, circa 1860, including a valley view with habitations, 26.5 x 31cm, a river valley through mountains, 21.5 x 27cm, plus 4 others similar with greater fading, all but one with signature stamp to lower mount and one with red ink stamp to lower image, four with French ink titles to lower mounts (6)

340* Maull & Polyblank. A group of 4 portraits, late 1850s, arched top albumen prints on original mounts within gilt borders with photographers’ imprint details at foot of each, subjects include Robert Stephenson (1803-1859), Thomas Graham (1805-1869) and Samuel Warren (1807-1877), images 19.5 x 14.5cm, plus a head-andshoulders portrait of Viscount Palmerston, photographed for Herbert Fry’s National Gallery of Photographic Portraits, late 1850s, oval albumen print, 20 x 16.5cm, original mount with imprint and facsimile autograph of the sitter to lower mount, all framed and glazed (5)

£500-800

342* McBean (Angus, 1904-1990). Christmas card self-portrait, 1937, bromide gelatin silver print, later printing, 37 x 28cm (14.5 x 11ins), titled and signed with copyright note to verso by the photographer, modern mat mount

£150-200

(1)

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£300-500

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345* McBean (Angus, 1904-1990). Portrait of the film director Jean Renoir sitting in front of a self-portrait of his father the artist Renoir, 1961, vintage bromide gelatin silver print, signed and dated in London, 1961, by photographer to mount lower left and titled and signed by him with same date to verso

343* McBean (Angus, 1904-1990). Surrealist self-portrait of the photographer as part of a camera with bellows on a tripod, Globe Theatre, London, Christmas 1949, bromide gelatin silver print, some spotting to upper right lighter area, signed and dated 1954 by the photographer to lower left corner of image, 37 x 28.5cm, tipped on to a contemporary mount with Angus McBean’s signed title in white china ink to mount verso, ‘The almost extinct Photosavas east sited in the Globe Theatre Christmas 1949’ (1)

(1)

£200-300

346* McBean (Angus, 1904-1990). Photograph for a Christmas card, 1949, gelatin silver print, later printing, showing the back of a female nude in foreground with McBean and David Ball in the distance photographing her, a few edge creases, and small split at upper margin, 23 x 29cm, inscribed and signed by Angus McBean to verso, together with a bromide gelatin silver print of McBean as Neptune in a self portrait for a Christmas card of 1939, later printing, 22.5 x 18cm, titled by the photographer to verso and with his copyright stamp

344* McBean (Angus, 1904-1990). Surrealist photograph of an ostrich nest in the sand with ostrich chick, 3 ‘eggs’ and the heads of two bald-headed men emerging from the sand, circa 1950, vintage bromide gelatin silver print, 44 x 36cm, laid on board (1)

£200-300

(2)

£200-300

107

£200-300

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Lot 347 347* Middle East. A group of 41 albumen print views by Bonfils Studio, circa 1880s, a mixture of views, ruins and some interiors, mostly titled and signed in the negative, all loose, 21.5 x 28cm (41)

ÂŁ500-800

348* Middle East. A group of 9 albumen prints by Antonio Beato and Jean-Pascale Sebah, circa 1870, the two by Beato of temples at Karnak, both signed in the negative, 22 x 25cm and slightly smaller, card mounts, the others by Sebah mostly of ruins but including one view of Cairo, signed and mostly captioned in the negative, three loose, three on contemporary mounts and one on modern archival mount, 20.5 x 27cm and two larger (9)

ÂŁ150-200

Lot 348

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351* Miscellaneous photography, 19th & 20th century, including assorted lantern slides in two boxes, stereo views, cabinet cards, cartes de visite, views of London, exhibition prints and studio portraits including two press print photos of Queen Elizabeth II by Dorothy Wilding, 1952, and one of Princess Margaret by Cecil Beaton, each 21 x 15cm, an engagement photograph of King George VI and Queen Elizabeth by Van Dyck, 28 x 23cm, etc. (a carton)

£100-200

352* Miscellaneous photography, late 19th and early 20th century, including a group of 10 photograph albums with topographical views of Britain, Italy, etc., various bindings and sizes, plus a miscellaneous group of over 100 loose 19th-century albumen prints of various subjects and a group of 70 lithographic and native architecture studies by James Wilkinson Breeks, with text and broken binding from the work published as ‘An Account of the Primitive Tribes and Monuments of the Nilgiris’, 1873, plus a group of approximately 50 albumen prints of classical Greek and Roman statuary, mostly on album sheets and many mounted (2 cartons)

£200-300

353* Miscellaneous photography, mostly 19th century, an assorted collection of albumen and some gelatin silver prints, subjects include country life and country houses, gardeners, portraits, transport, etc., various sizes, mostly on mounts and including 9 framed and glazed (a carton)

349* Middle East. A partly broken album containing 14 albumen print views, circa 1870, including one of Phillae, the remainder mostly Jerusalem and surrounding area, all unsigned and mounted to individual mounts with ink titles beneath, each approximately 21 x 27cm, the album also containing two group photos and photographs of artworks, a few leaves loose, hinges broken, contemporary morocco, folio, together with 11 further loose albumen prints of Middle East interest including nine by Francis Frith, 1857, all of ruins in Egypt, mostly original mounts but with some damage and four with library name stamp across upper right corner of images, 16 x 23cm and similar sizes (10)

£100-200

£300-500

354* Miscellaneous photography, late 19th and early 20th century, a group of 5 albums of mounted albumen prints and gelatin silver prints, one album relating to Zanzibar with approximately 130 photos including one of Arab slave dealers, generally very faded, an album of photographs and postcards of the Middle East, circa 1920, 2 photo albums mostly of British interest but including six albumen print views of Calcutta by Stretton, circa 1870s, and a British family album, circa 1900s, mostly family portraits and snapshots but including some in Mauritius, various bindings, poor condition, 4to/folio, together with a group of approximately 60 loose and curled albumen prints of Italy, mostly with captions in the negative to lower margins, approximately 20 x 25cm, some creasing and edge fraying (a carton)

350* Miscellaneous photography, 19th and some 20th century, a good assortment of mostly mounted albumen prints, subjects including travel and topography in Britain, Europe, the Middle East and Japan, plus people, houses and interiors, many medium and large format (approx. 500+)

£500-800

109

£300-400

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355 Mitchell (Reuben). Photographic Views in Bolton and Neighbourhood, 1st edition, Bolton, 1868, 12 albumen prints (approximately 220 x 280mm and similar sizes), mounted on to individual stiff card mounts, each with facing letterpress description and tissue guard, some spotting and dust-soiling, small tear to titlepage foremargin not affecting text, all edges gilt, original half morocco over cloth with gilt title to upper cover, worn with some loss to spine and corners, folio Not in Gernsheim, Incunabula.

(1)

£300-500

357* Nadar (Felix, 1820-1910). Portrait of Edmond de Goncourt for Galerie Contemporaine, circa 1880, Woodburytype, three-quarter length and seated, 23 x 18cm, original mount with printed caption at foot, together with a similar Woodburytype portrait of the poet Alphonse Daudet, Phot. Goupil et Cie, circa 1880, 22.5 x 18.5cm, imprint details on original mount, both framed and glazed, together with 8 other Woodburytype portraits of various subjects including a duplicate medallion portrait of Stanley, all but two framed and glazed, plus one cabinet card and four cartes de visite, all but one framed (15)

358* Native American carte de visite. An albumen print carte de visite of Dakota Indian warrior leader Marpiya Okinajin, also known as Cut Nose or He Who Stands in the Clouds, by Moses C. Tuttle, St. Paul, Minnesota, circa 1860, half-length portrait, photographer’s printed credit and contemporary manuscript identification “Cut Nose” to verso

356* Modern photography, 20th century, a mixed group of approximately 50 photographs, all 20th century, including three later prints by Atget, a later print by Lartigue, two prints by Cecil Beaton, an enlarged contact sheet by John Claridge, etc., various sizes (approx. 50)

£150-200

“Cut Nose” was one of thirty-eight Dakota Indians hanged at Mankato, Minnesota, on 26 December 1862, for his participation in the 1862 Sioux uprising. The hangings are notorious in American history as the country’s largest ever mass execution.

(1) £100-150

£100-200

359* Native American carte do visite. An albumen print carte de visite of Chief Ottodun, or ‘Plenty’ by Benjamin Franklin Upton, St. Anthony, Minnesota, circa 1860, half-length portrait with bow, pencil identification and photographer’s printed credit to verso, some spotting to mount (1)

110

£100-150

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360* Naya (Carlo, 1816-1882). Cavalli Palace and the Grand Canal looking towards the Santa Maria della Salute Church, circa 1876, mammoth albumen print, negative number 11 in the image lower left, 39 x 51cm (15.5 x 20ins), framed and glazed with Fine Art Society label to verso dated 1987 (1)

ÂŁ300-500

Lot 358

361* Naya (Carlo, 1816-1882). Bridge of Sighs, Venice, circa 1877, albumen print numbered 9 in the negative lower right, 35 x 26.5cm (13.75 x 10.5ins), framed and glazed, Fine Art Society label to verso dated 1987 (1)

Lot 359

111

ÂŁ300-500

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362* New Zealand. A group of 25 albumen print views, circa 1880, locations include Wellington, Lyttelton Harbour, Dunedin, Christchurch, Auckland, Napier, Milford Sound, Queenstown, Wairakei Geyser, mostly with printed captions and initials in the negative, approximately 15 x 20cm and similar sizes, mounted as multiples and back to back on six oblong folio card leaves with ink captions to lower mounts (25)

364* North & South America. A group of 39 albumen and gelatin silver prints, circa 1880s and slightly later, including views in Chile, Peru, Mexico, Cuba, New York, Hawaii, California, Salt Lake City, Boston, Washington, etc., some with figures, mostly on contemporary mounts and several mounted as multiples and back to back, various sizes

£150-200

(39)

£150-200

365* Northumberland. A group of 4 oval albumen prints at Gilsland, [Northumberland], photographed by A. Brown, Lanark, circa 1890s, three showing river scenes with figures and one of the spa well with a group of five figures, each 18.5 x 14.5cm, original gilt frames, glazed, with eyelets and photographer’s printed labels completed in manuscript pasted to versos (4)

363* Nigeria. A group of 47 photographs relating to British missionaries in Badagry and other districts, 1930s, a mixture of carbon prints (30) and gelatin silver prints, subjects including studies of local people and scenes, missionary works and workers, two group photographs with credit of B.E. Efiong of Okut Ana Studio, Uyo inscribed to mounts, some other photographs with brief captions to versos or mounts including identification of Rev. G.O. Henry, 29 x 23cm and smaller, together with a printed Elder Dempster Lines passenger list, MV “Apapa”, 17 October 1934 (38)

£70-100

366 Northumberland. An album containing 184 window-mounted albumen prints, circa 1860s, presented four to a page on twentyfive leaves with a few gaps at rear, all but six topographical views and all of carte-de-visite sizes, some later pencil captions to mounts, including Alnwick and environs, all edges gilt, contemporary morocco gilt, rubbed and snagged at head of spine, 4to (1)

£200-300

112

£150-200

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367 Norway. An album of 82 mounted albumen prints, circa 1880s, mostly landscapes featuring fjords and waterfalls, plus some town views, plus a few with figures and three of shipping interest, photographers include James Valentine, K. Knudsen and Axel Lindahl, some captioned in the negative, mounted as one or sometimes two to a page and back to back throughout, 28 x 38cm and smaller (1)

£200-300

368* Opera. A group of 90 albumen print cabinet cards of the Bayreuth Festival, 1880s/1890s, including male and female performers in ‘Der Ring des Nibelung’, ‘Tristan und Isolde’ and ‘Tannhauser’, many from the studio of W. Hoffert or from CostumPortrait series, some mounts trimmed (90)

£500-800

369* Opera. A group of approximately 300 gelatin silver print photographs of male and female opera singers, 20th century, mostly individual portraits, some with credit stamps to verso, approximately 25 x 20cm and some smaller

Lot 367

(approx. 300)

£150-200

Lot 369

Lot 368

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370 Owen, Hugh FSA (1808-1897). An album of 79 albumen prints, circa 1870s, from waxed and unwaxed paper negatives, circa 1851-54, beginning with a photograph of a marble statue of Eve [exhibit at the Great Exhibition, 1851] with initials H.O. in the negative lower right, the remainder a selection of views including Bristol street views, churches and other buildings and interiors, plus rural photographs featuring studies of trees, vegetation, cornfields with stooks, farm buildings and ruins, still lifes, oyster boats and two of a derailed train, photographed largely in the South West, mostly in Bristol and Leigh Woods, plus some in South Wales including the Gower, but including at least one photographed in Portugal, mounted to album leaf rectos only with occasional pencil captions in a later unidentified hand [?Canon Cole], numbered in pencil (1-78 plus 12a) by Reece Winstone, tonal ranges mostly very good to excellent, all 222 x 172mm (or very similar) and the reverse, binding now missing but with one marbled endpaper plus front and rear flyleaves present (detached), 4to (283 x 252mm) An important and historic photograph album recording a large body of work of this revered early Bristol photographer, most of the photographs not known or published. Best-known for his Bristol views this fine collection features a wider variety of subjects and provides great insight into Owen’s photographic skills and to his aesthetic ideas about photography as art. His careful compositions find shapes, patterns, lines, reflections and textures in woodlands, vegetation, crumbling buildings, rocks and water. Owen was the first person to successfully photograph a cornfield (the early emulsions rendered yellow as black) and the album includes three photographs of a cornfield. In these photographs as with the derailed train photographs, the photographs of oyster boats, the still lifes whether composed or found, there is a desire not to just document but to make a beautiful photograph.

All the photographs were taken before 1855 to be made into calotypes, but these prints were not made until circa 1870s and using the albumen process which Owen experimented with but never took to. By this time Owen had long since given up photography and whether Owen supervised or was involved in the printing and compilation of this album remains unknown. Whoever did compile the album had access to Owen’s original paper negatives and knew what they were doing but the seeming lack of ordering of the photographs (the first 33 are portrait shapes, the remainder landscape shapes) and the fact that one study of ivy is bound upside down suggests that Owen was not directly involved in putting the album together.

Hugh Owen, who worked as chief cashier for Brunel’s Great Western Railway, was making daguerreotypes before 1845. From around 1846, following correspondence with Fox Talbot, he started using Talbot's calotype process to make paper negatives. He quickly became a master of the process and in 1847 was singled out for special praise by the Athenaeum during an exhibition of photographs by members of the Calotype Club (also known as the Photographic Club) in London. The commissioners for the Great Exhibition of 1851, at which Owen exhibited his calotypes, were impressed enough to invite him to make photographs of some of the displays. Of the 154 photographs used in the resulting monumental four-volume Reports by the Juries, 32 were made from calotype negatives by Hugh Owen, the remaining 132 albumen prints from photographs by Claude-Marie Ferrier of France.

In January 1853 Owen became a founding council member of the Photographic Society (later the Royal Photographic Society); other founding members included Roger Fenton (honorary secretary) and John Dillwyn Llewelyn. In the same year Joseph Cundall published two volumes of Owen’s Photographic Pictures. In spite of some experiments with the albumen print process Owen continued to favour the paper negative process, arguing for its convenience and superiority in its delineation of nature. Following an exhibition in 1855, featuring his views from Portugal, his interest in photography seems to have waned as he gave up the fight against the increasing dominance of albumen prints using wet collodion on glass. By the time of his death in 1897 this formerly prolific and highly regarded photographer seems to have been all but forgotten by the photographic fraternity.

Provenance: The family of Reece Winstone, by direct descent. Reece Winstone FRPS, a Bristol photographer and photographic historian, was a champion of Hugh Owen and his short photographically illustrated essay on Owen in his book, Bristol’s Earliest Photographs (1970), remains one of the best sources of information on the enigmatic and elusive photographer. (See also Roger Taylor & Larry J. Schaaf, Impressed by Light: British Photographs from Paper Negatives, 1840-1860, 2007; James Belsey, A Small Light in the Far West: Victorian Photographers in Bristol, 1996). In the essay Winstone describes how this album came into his possession in 1962 by way of Mr. W.L. Venn ‘who had served as a handy-man to the well-known cleric-archaeologist, Canon R.T. Cole [1874-1948], of Christ Church (who gave the Georgian House to the city). Mr. Venn purchased the album at an auction sale of Canon Cole’s effects, looked after it, and then was kind enough to pass it on to the author. Many of the photographs are of woodland subjects, others duplicate subjects already in the author’s collection, but a good number were new to him, and others confirmed that Owen had indeed taken some of hitherto doubtful origin … Canon Cole’s album is a veritable Rosetta Stone of local history’.

Further information and a full and detailed listing of all the photographs is available from the auctioneers.

(1)

£20000-30000

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Lot 371

Lot 373

371* Panorama - Lancashire. A three-part albumen panorama of Lytham Pier, Lancashire, circa 1875, the three photographs each 13 x 26.5cm, nicely presented in a mat mount and modern frame, glazed (1)

£150-200

372* Panorama - Canada. A panoramic view of Kelowna, British Columbia by G. Hudson, circa 1820, gelatin silver print panorama, some marks and streaks to left-hand area, 23 x 157cm, together with a carbon print panorama of a southern England town and landscape showing chalk downland, a church tower and river, circa 1920, some damp marks to left margin, 32 x 167cm, both framed and glazed (2)

£100-200

373* Panorama - Scotland. Ben Nevis from Carn Mor Dearg, by W. Lamond Howie, circa 1895, vintage four-part carbon print with blind stamp lower right, a little spotting, mostly visible in sky area, 23 x 108cm Exhibited at the Royal Photographic Society in 1895.

(1)

£200-300

374* Parkhurst (Talcott Harmon, 1883-1952). A group of gelatin silver prints of Native Americans, circa 1920, printed later from Parkhurst original negatives, three showing head shots of Navajo men, one with headdress and one captioned in the negative “Clah”, a famous singer of the Navajos, plus one full length in costume with headdress and bow, plus two basket makers and a Navajo young woman, each approximately 24.5 x 19cm and similar sizes, mounted on card with some details to versos (6)

£250-350

Lot 374

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375* Parkinson (Norman, 1913-1990). Two close-up head shots of Bruce Campbell, circa 1935, vintage gelatin silver prints, 37 x 29cm, original green paper and stiff card mounts (somewhat spotted), sitter’s name in white capitals to mount beneath and photographer’s credit in blue pencil beneath Two early portraits by the fashion photographer Norman Parkinson featuring Bruce Campbell, a manufacturer of motor launches.

(2) £200-300

376 Photograph albums. A group of 8 partly broken photograph albums, late 19th and early 20th century, mostly commercial albumen print views of Italy, Rome, Port Said, Egypt, Spain, plus military, shipping and artworks, one album including photographs, postcards and snapshots in Japan, circa 1908, various bindings, some wear, 4to/oblong folio, together with volumes 1 & 2 of ‘The Photogram’, 1894-95, containing some mounted albumen prints and gelatin silver prints, contemporary half calf, some wear and joints weak, 8vo (10)

£200-300

Lot 375

377 Photograph albums. An assorted group of 8 partly broken photograph albums, mostly late 19th century, one with approximately 65 commercial photos and snapshots of South Africa, one with approximately 100 albumen print photographs of Japan (some adhesion damage), Great Britain and Europe, and with 18 slightly damaged Chinese watercolour drawings of birds and trades on pith paper, one album with 70 gelatin silver print photographs and snapshots of India, the remaining photographs mostly Europe including Great Britain and Italy, a mixture of views and family snapshots, etc., various bindings, generally worn, 4to/oblong folio (8)

Lot 376

117

£300-500

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378* Pictorialism. 3 large carbon prints of Streatley, Luton neighbourhood by F. Thurston, circa 1910, titled ‘A Cool Retreat’, ‘Summer Leaves’, and ‘Streatley’, 57 x 42cm and slightly smaller and one the reverse, framed and glazed with wooden mats, photographer’s credit and titles printed to lower mats (3) £700-1000

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381* Portraits. A group of 5 portraits, circa 1870s, 3 head-andshoulders portraits of a man and two women with hats, a fourth three-quarter length portrait of a woman partly in profile and looking upwards, the last of a mother and two children, one cradled in her arms, 33 x 30cm and slightly smaller, a few marginal splits, four inscribed ‘Walter Campbell’ to versos

379* Pictorialism. A group of 3 gelatin silver print photographs of children, by J.R. Bridson, Bolton, Lancashire, circa 1910, one titled ‘What’s the time Mr Wolf?’, another ‘1 o’clock’ with manuscript title label identifying photographer to frame verso, the third of a single boy with an empty basket from the same series, all 22 x 28.5cm and the reverse, framed and glazed, together with a gelatin silver print of circa 1910, featuring a man and woman with a man sweeping leaves, and in the centre behind them a young girl and boy standing up on a swing, 29 x 23cm, framed and glazed (4)

Probably the work of a single photographer influenced by Julia Margaret Cameron.

(5) £250-350

£80-120

380 Poland - Gdynia. An album of 30 mounted gelatin silver prints, 1938, documenting the development of Gdynia from a small fishing village in the 1920s to the biggest port on the Baltic in 1938, showing transport, shipping and buildings including Polish modernism, images 17.5 x 23cm, mounted back to back on card leaves with printed captions in English to lower mounts, library labels to first and last pages not affecting text or photos, some chipping at edges, disbound and unstitched, oblong folio

382* Portraits. A group of 30 Woodburytypes, circa 1880s, the majority by Barraud, subjects include H.M. Stanley, Ellen Terry, Lady Randolph Churchill, Shah of Persia, Charles Voysey, etc., three in modern mounts

(1)

(30)

£200-300

119

£200-300

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385* [Potter, Beatrix]. A pair of carbon prints by [Henry] Mayson of Keswick, circa 1910, both featuring Herdwick rams, one with four farmers showing the rams to camera, both with a drystone wall and mountainside behind, signed by the photographer and inscribed Keswick lower right of image, framed and glazed, the first with some small loss of glass lower right and inscribed in a contemporary hand in block capitals to paper backing, ‘Mrs Heelis - collect on Thursday (x 2)’ Beatrix Potter (Mrs Heelis) moved to Hill Top Farm in the Lake District in the autumn of 1905. She became a noted breeder of Herdwick sheep and was largely responsible for their recovery from diminishing numbers.

(2) £200-300

383* Portraits. A group of 12 Woodburytype portraits, circa 1880s, all by Barraud, sitters include Herbert Spencer, Charlotte M. Yonge, Adelina Patti, Samuel Plimsoll and other male sitters, images 25 x 18cm, original mounts with imprint details beneath, all framed and glazed, all but one matching frames (12)

£200-300

384* Portraits. A group of 8 Woodburytype portraits, circa 1880s, subjects include H.M. Stanley (Barraud), E.F. Benson (Alfred Ellis), Ellen Terry (Chancellor), and other mostly male sitters photographed

by Mayall & Co. and others, 25 x 18cm and similar sizes, original mounts with photographer details to lower margins, framed and glazed in matching frames

386* Press prints. A group of over 350 gelatin silver print press photographs, mostly circa 1930s, the majority of zoo animals and other close-up wildlife shots including some humorous, plus a small number of miscellaneous subjects including people, naval, etc., mostly approximately 20 x 25cm with printed credits and details to versos, contained in poly sleeves in 14 ring binders

(8)

(approx. 350)

£150-200

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£100-200

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389* Shepherd & Robertson. A pair of mounted albumen prints, 1860s, both signed in the negative (one trimmed) and one showing number 1108, 17.5 x 23cm, ink titles to lower margins of paper mounts, ‘Banya’s shop’ and ‘Fukeers’, together with two mounted albumen prints by John Burke, circa 1870s, the first a group of Indian men with turbans including the Khan of Khelat, 18 x 24cm, the second including a group of armed Indian men on the frontier near Peshawar, signed ‘Baker & Burke’ in the negative to right margin, 19.5 x 27cm, a similar-size albumen print view of Murre, Punjab, mounted to mount verso

387* Robertson (James, 1813-1888). Seven Towers, Constantinople, circa 1854, lightly albumenised salt print, signed in the negative to lower margin, 259 x 305mm (10 x 12ins), original mount (1)

£100-150

(4)

£300-500

390* Shergold (Herbert, of Bristol). A box of approximately 400 glass plate negatives, the majority head-and-shoulders portraits, plus some of pets, etc., the majority including a single contact print from each sitting, some with retouching marks, plate size 10.8 x 8.2cm, mostly contained in Ilford boxes with sitters’ names inscribed to lids (a small carton)

388* Scotland - Isle of Skye. A group of 6 mounted albumen prints of Dunvegan Castle and surroundings, circa 1870, each approximately 21 x 27.5cm and similar, original mounts, plus an albumen print portrait of Norman MacLeod of MacLeod and a smaller albumen print of Dunvegan Castle, 10.5 x 16.5cm, plus an outline pencil drawing of Dunvegan Castle on white cartridge paper, 36 x 47cm, and a mounted albumen print view of Hinwick House by Downes of Bedford with ink stamp to mount verso, image size 24 x 27.5cm, mount browned and chipped (10)

£200-300

391* Shop Fronts. A group of 70 assorted gelatin silver print photographs of shop fronts and interiors, including grocers, tobacconists and one of a Regal Cinema, circa 1940s/1950s, approximately 25.5 x 20cm and similar, and including four Edwardian real photo postcards of shop fronts and 22 shop front postcards by S.E.M. Ltd., 1934, together with an album documenting the House of Bewlay (pipe shop), 1950s, a total of 76 professional gelatin silver prints mounted on 18 thick card leaves with printed captions identifying address locations in London and nationally, images mostly 9 x 12.5cm and presented as two or three to a page, contemporary cloth, slightly rubbed and dust-soiled, oblong folio, plus six Edwardian glass plate negatives of shop fronts including a handkerchief window display and five of Plummer Roddis shop fronts, mostly 15 x 22cm

£100-150

(77)

121

£200-300

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Lot 392

Lot 393

392 South Africa. An album of 62 albumen prints, late 19th century, including views and gardens, settlers and ethnic types, many with captions and initials of the photographer George Washington Wilson in the negative, including a four-part panorama of Cape Town and Table Mountain, linen-backed and partly laid down (23 x 115cm), other photographers include F. Pollard and Deale Brothers, many approximately 18.5 x 23cm and mounted one or more to a page and back to back on stiff card leaves throughout, contemporary half morocco gilt, rubbed, oblong folio (1)

£400-600

393* South Africa. A group of 40 mostly albumen prints and carbon prints, circa 1880s, groups, street scenes and views, including Cape Town, Port Elizabeth, Kimberley, Grahams Town, Pretoria, Johannesburg, etc., various sizes, mostly on old album mounts including some back to back (40)

£150-200

394* South Africa. A group of approximately 140 mostly gelatin silver print photographs, early 20th century, including camp life, villages and ethnic groups, country views, etc., some captions to versos, 12 x 17cm and smaller (approx. 140)

£200-300

Lot 394

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395* South Africa. A group of 24 gelatin silver prints of tribal life and related, circa 1900, many captioned and numbered in the negative with credit of the photographer W. Rausch of Bulawayo, some with ink captions to versos, mostly 14 x 20cm (24)

£300-500

397* South African Goldfields. A group of 32 mounted albumen prints, circa 1888, including images of gold mines and digging work, plus settlers and settlement, a few group photos, mostly 15 x 20.5cm and similar sizes, mounted back to back on stiff card album leaves with pencil titles to most mounts, including Von Brandis, mining commissioner, “Wave” Reef, Komati goldfields, Ladysmith camp, Pigg’s Peak, Forbes Reef, Portuguese officials, a diggers’ picnic at the “Homestead” Reef in Steynesdorf, “Annie’s Faith”, Umsoli, Upper Komati District, Ned Kavanagh’s, Steynesdorf, Central Hotel, Steynesdorf, ‘Used as a stock exchange after collapse of proprietor’, opening of the Umsoli Battery, July 9 1888, etc.

396* South Africa. A group of 33 gelatin silver print photographs, circa 1900, mostly showing gardens, rural views and towns in Bulawayo and surroundings, some captioned and credited in the negative, photographers including W. Rausch, F. Pollard and J. & M. Lazarus, plus four other photographs depicting stuffed animals and identified to versos as exhibits at the Grahams Town exhibition of 1898, one photograph frayed without loss (37)

(32)

£300-400

123

£200-300

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398* South Seas. A good quarter-plate ambrotype of a South Sea Islander woman, circa 1860, three-quarter length, seated and full face with plaited hair, neck scarf, long-sleeved blouse and apron, oval mat, embossed leather case, a little fraying to joints (1)

ÂŁ500-800

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399* Stereo views. A group of 53 albumen print stereo views of trees, 1860s/1880s, mostly uncaptioned and uncredited on yellow and buff mounts, loosely contained in old mahogany box with sliding lid

401* Stereoscopic daguerreotype. A half-length portrait of a British gentleman wearing an India General Service Medal, circa 1855, gold and colour highlights, 1/9th plate (2.5 x 2ins), 6.75ins length

(53)

(1)

£150-200

£150-200

402 No lot

403 Stern (Bert, 1929-2013). Festival Foto Marilyn, Studio Kronos, Viareggio, 1987, a portfolio of 10 leaves including title with introduction and vignette of Monroe, the remaining nine good quality photographic reproductions on glossy paper, all 25 x 19cm or the reverse, two bookshop ink stamps to inner flap, original printed wrappers, a little marked, slim folio A seemingly rare promotional item featuring Bert Stern’s black and white photographs of Marilyn Monroe. Believed to be complete but as no other copy found sold as seen.

(1) £100-150

404* Stone (John Benjamin, 1838-1914). The Great Seal of England, platinum print, 153 x 186mm, signed, titled and dated 10th November 1904 by photographer to mount beneath, mat heavily spotted (1)

400* Stereocards. St Louis Exposition Through the Stereoscope, published Underwood & Underwood, 1905, a complete set of 55 photographic stereo views on original curved mounts with numbered printed captions and imprint details to rectos and further details printed to versos, contained as issued with original printed book ‘The World’s Fair, Louisiana Purchase Exposition through the Stereoscope’, folding map at rear, original printed wrappers, slightly creased, narrow 8vo, all contained in original cloth book box, some rubbing and old water stains (not affecting contents) (1)

£100-150

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£100-150

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407 Sutcliffe (Frank Meadow, 1853-1941). Excitement, 1888, sepia-toned gelatin silver print on thick paper, photographer’s initials and negative number 307 not present in lower margin of image, vertical split at centre of image from top to bottom, expert restoration, image 236 x 435mm (9.25 x 17.25ins), paper size 250 x 435mm (1)

£2000-3000

405* Suez Canal. A large collection of approximately 750 colour and b & w postcards relating to the Suez Canal from Port Said to Port Suez, circa 1900-50, including real photo postcards, some postally used, arranged geographically in two modern postcard albums with related ephemera, large 4to, together with a small quantity of related Suez ephemera, including guide books and a copy of ‘A Voyage with the Mails between Brisbane-London’, 3rd edition, extra illustrated with snapshots and one page of autographs, original cloth, 4to (a carton)

£300-400

408 Talbot (William Henry Fox, 1800-1877). The Art-Union, Monthly Journal of the Fine Arts and the Arts, Decorative, Ornamental, volume 8, 1846, Talbotype (i.e. calotype) of ‘The Palace of Justice at Rouen’ mounted opposite page 143 (as issued), 169 x 203mm, somewhat faded (as usual), printed patent label pasted to leaf recto, the volume illustrated with a further 12 plates (of 14?) including two folding and two in colours, wood-engravings to text, some spotting and dust-soiling, contemporary half calf with later reback, title and covers detached with some inner marginal fraying to initial leaves, worn, 4to The ‘first magazine in the world to be illustrated with a photograph’ (Gernsheim 620).

(1) £200-300

409* Textiles and Carpets. A large archive of over 5,000 Kodachrome 35mm colour slides, late 1970s/early 1980s, including about half relating to textiles, carpets and weaving in India, Afghanistan, Turkestan, China, Turkey, etc., the remainder including architecture, gardens and views in Cordoba, Granada and other places in Spain, Egypt, the Yemen, etc., plus some European and many circa 1990s, many captioned on the mounts and/or organised in plastic slide boxes with paper title labels inserted

406* Suez Canal. A large group of approximately 250 full-plate albumen print photographs of scenes along the Suez Canal, circa 1860s/1890s, many showing shipping along the length of the canal, various photographers and many with credits in the negatives, mostly loose or mounted and sometimes back to back, the majority approximately 20 x 25.5cm and similar sizes (approx. 250)

The archive of Dr Shirley Jarman, an archaeologist and specialist expert on the materials, weaving techniques and patterns used in Oriental carpets and textiles. The slides in this archive reflect this interest giving great and colourful detail and occasionally crossing over into other trades such as bread making and felt making, etc. (an archive) £1000-2000

£300-500

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Lot 407

Lot 409

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411* Theatre. A group of theatrical Woodburytypes of actors and actresses of the last quarter of the 19th century, mostly carte-devisite sizes but some larger and many in a broken album (approx. 150)

£100-150

412* Thompson (Charles Thurston, 1816-1868). Self-portrait of the photographer behind camera reflected in a mirror, circa 1855, albumen print, showing a reflection of the camera in a mirror with highly ornate surround, some see-through from old album corner glue marks, 210 x 160mm (8.25 x 6.25ins) (1)

£300-500

410* Thailand. A group of 5 mounted albumen prints, circa 1870, one a bird’s eye view showing a street scene and rooftops with temples, two others of temples, one of a large house and one a river view with rocky outcrop on the far bank, 24 x 30cm, original mounts, two with blindstamp of F[rancis] Chit & Sons to lower mount, and all with Russian titles in ink, one mount heavily spotted, together with a mounted albumen print showing an execution wall and ground in Canton, circa 1860s, 21.5 x 26cm, horizontal split across whole of mount with little surface cracking to image at left margin (6)

£200-300

413* Thomson (John, 1837-1921). A group of 14 Woodburytypes taken from ‘Street Life in London’, 1878, titles include Halfpenny ices, The street locksmith, Cheap fish of St. Giles’s, Covent Garden labourers, The London Boardmen (all in modern mats), Old furniture, The Woolworker, A convict’s home (x 2, one mount somewhat dustsoiled), The water-cart, London cabmen, Flying dustmen, The street locksmith and The seller of shell-fish, each approximately 110 x 85mm, original paper mounts with printed title at foot (14)

Lot 411

128

£500-800

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Lot 412

129

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414 Tibet. A Trip to Leh, July 1916, from A.S.H. as a Memento of a Pleasant Journey [so inscribed on front pastedown], 48 windowmounted gelatin silver prints of an expedition featuring ethnic groups, mountains and habitations, 9.5 x 7cm or the reverse, neat clear captions to mounts throughout, contemporary cloth, rubbed, 8vo A good album of a British expedition to Leh in Ladakh, the highest plateau in Kashmir.

(1) £500-800

415* Tibet. A pair of portraits of Tibetans by Randolph Bezzant Holmes (1888-1973), circa 1930, vintage gelatin silver prints, both hand-coloured by Holmes (at a later date?), the first showing a man holding a bowl, the second of a woman vendor from Ladakh, the first signed in the image lower left, both with photographer’s stamp to verso, tipped on to ragged paper with pencil caption and signature ‘Holmes’ at foot, original mounts, images 29.5 x 22.5cm and slightly smaller (2)

£200-300

Lot 414

416* Tom Thumb. Portrait of Admiral Tom Thumb, aged 26 years, circa 1865, albumen print carte de visite, showing Tom Thumb full length standing on a small circular table and holding the hand of his manager P.T. Barnum, printed caption to lower mount, a little dust soiled Admiral Tom Thumb (Jan Hannema/Rallema/Hahneman) was a midget magician who worked for Ringling Brothers Circus selling his own magic sets complete with tiny cards.

(1) £100-150

Lot 415

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418 Venice. Ricordo di Venezia, an album of eighteen mounted albumen print views by Carlo Naya, circa 1870s, mostly views of buildings and canals plus four interiors, 18 x 24cm and similar sizes, mounted to album leaf rectos only, image numbers in the negatives and Naya’s embossed studio stamp to four mounts, original cloth gilt, soiled and stained with a little wear to extremities, oblong folio (1)

£200-300

417* Varra (Allan, 20th century). Photograph of Judy Garland and band leader and husband Mickey Deans in London a few months before her death in June 1969, vintage gelatin silver print, 40 x 32cm, signed in pencil by the photographer to lower mount, together with Mortensen (William), Portrait of Rudolph Valentino, circa 1925, vintage matte gelatin silver print with pencil studio credit and photographer’s signature to lower mount, 26.5 x 20cm, plus 9 large gelatin silver print film stills/proofs and 7 further film stills advertising ‘Cobra’ starring Valentino plus a gelatin silver print of Ramon Novarro

by Clarence Sinclair Bull, circa 1926, later printing, 23 x 18cm, photographer and sitter credits to verso, plus three related items, plus two vintage exhibition gelatin silver prints by Karl Pollak, of the Dean of Westminster and ‘White Poodle’, both circa 1947, the first with pencil signature to lower mount, details to versos, 51 x 33cm and similar, plus two vintage gelatin silver print exhibition print photographs by J.W. Riddiough, 1948 and circa 1952, one a Leica studio self-portrait, 28.5 x 24.5cm, the other titled ‘The Dagger’, 37.5 x 30cm, both with pencil signatures to lower mounts, plus a group of 6 photographic shop display calendars and one related item (32)

£150-200

419* Verger (Pierre, 1902-1996). 3 photographs of a Chinese refugee camp, 1930s, vintage gelatin silver prints, credit stamp to versos, a few closed tears and marginal creases, one photograph dampstained and slightly showing in sky area, lower margins blank and one corner torn with loss not affecting image, 26 x 24cm (3)

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£300-500

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420* Warhol - The Factory. Joe Dallesandro and Geraldine Smith from the film ‘Flesh’, 1968, vintage C print colour photograph by film director Paul Morrissey (b. 1938), 51 x 49cm (20 x 19.25ins), laid on board The film ‘Flesh’ was Morrisey’s solo feature debut, produced by Andy Warhol and filmed at The Factory. It was the first of a trilogy of zero-budget experiments, roughly cut and with improvised acting by junkies, hustlers, and transvestites. Joe Dallesandro is generally considered to be the most famous male sex symbol of American underground films of the 20th century, as well as a sex symbol of gay subculture. His nickname “Little Joe” was used in Lou Reed’s song, “Walk on the Wild Side”, and concerned the characters Reed knew from Warhol’s studio, The Factory. Dellsandro also features on two famous record covers, the Rolling Stones album ‘Sticky Fingers’ and The Smiths eponymous debut album.

(1) £150-200

421* Williams (Christopher ‘Kit’, born 1946). Anatomy of the Spirit, 1991, vintage matte gelatin silver print, 38 x 33.5cm (15 x 13ins), pencil title and dated monogram to lower margin, matted, together with a first edition of his book Masquerade, 1979, colour illustrations, ownership label remains to front free endpaper, solution print-out loosely inserted, original pictorial laminated boards, 4to (2)

£100-150

422 World Album. An album containing 170 mounted albumen prints, circa 1880-90, comprising an interesting and wide-ranging collection of photographs by one or more unidentified photographers, subjects include the Alps, Caucasus, the Italian Lakes and Switzerland, views in Scotland, the Lake District, Warwick, Devon, Jersey, etc., plus yachts and sailing, sea and sky studies, rural scenes, etc., also India, Ceylon, Venice and some individual and group portraits, including fishermen and shrimpers in Hastings and Scarborough (x 7, each 21.5 x 15.5cm), one titled ‘Packing cod for London market’ (24 x 29cm), two photographs of armed escorts in ‘Fodli Country’ [Fadhli Territory, Aden], each 15.5 x 21cm, two portraits of ethnic types in Algiers, four photographs in Tangiers, titled ‘Conducting sacrificial offerings’, ‘Procession of Basha’ and two market scenes, each 24 x 28.5cm, plus one further page with four Indian ethnic types titled ‘Arcoi Mussulman’, ‘A Suniassie, Banirah’, ‘A Sikh’ and ‘Fakir’, plus other photographs of India and Ceylon, mounted back-to-back on thirty-two stiff card leaves and mostly as multiples of two or more, neat ink captions throughout (with some curious spellings), the last and largest three photographs being portraits of unidentified men (all uncaptioned), each 36.5 x 25cm and similar, some spotting and chipping to mounts, several leaves detached, contemporary half morocco, some wear, spine deficient and crudely repaired with tape, folio (53 x 39cm)

Lot 420

An interesting album and possibly mostly the work of an unidentified skilled amateur photographer. Only one photograph is numbered or identified in the negative, that being ‘Edinburgh from the castle slopes by R.M.’. This photograph was taken by photographer and civil engineer Robert Murray (1822-1893), best known for his views in Malta and Egypt taken during the 1850s. However, he did maintain his interest in photography, communicating with the photographic journals into the 1880s.

(1) £1000-1500

423* Yachting. A group of 6 framed and glazed gelatin silver prints of yacht racing by Beken & Son, Cowes, c. 1950s/60s, the largest 40 x 50cm “Crusade”, 40 x 29cm “Caribbee - 1952”, the remaining four including Stormy Ogel - Cowes Regatta 1961 and Chevalier Regatta 1964, all approx. 22 x 28cm and similar sizes, all but one with titles and credits in white to lower margin, one frame lacking glass, plus 6 related medium and large-format yachting photographs

Lot 421

(12)

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£100-150

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Lot 422

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424* Yorkshire. A group of 4 albumen prints from Delamotte and Cundall’s ‘A Photographic Tour Among the Abbeys of Yorkshire’, 1856, original mounts and one of Kirkstall Abbey (doorway on the north side) in modern mat, 27 x 22.5cm and similar, plus a group of 5 albumen prints of Yorkshire churches by Russell Sedgefield, taken from paper negatives, circa 1858, pencil captions to lower margins, 20.5 x 25.5cm (9)

426 Zimbabwe. An album of views of Victoria Falls and locality, circa 1905, the first twenty-two with printed captions beneath and identified by a printed photographer’s list loosely inserted as the work of L. Pedrotti, Bulawayo, the final fifteen uncaptioned platinum prints also mounted one to a page and back to back throughout, all approximately 21 x 29cm and similar sizes, hand-coloured printed sketch plan of Victoria Falls mounted to front pastedown (20 x 27cm), five stiff card leaves blank at rear, contemporary plain buckram, rubbed, folio

£200-300

The printed list offers twenty-seven views of Victoria Falls by Pedrotti as platinotype prints, this album containing all but numbers 13a, 15, 18, 19 & 20.

(1) £400-600

425* Zanzibar. A group of 27 gelatin silver prints, circa 1900, including town views and coastal scenes, some with credit of J. & M. Lazarus in the negative, some ink captions to versos, 15 x 20cm and similar sizes (27)

£300-400

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ANTIQUE FURNITURE & BOOKS, PAINTINGS, SILVER & MILITARIA BELONGING TO THE ACTOR & HISTORIAN ROBERT HARDY CBE, FSA Saturday 18 April 2015

For further information please contact: Henry Meadows henry@dominicwinter.co.uk or Colin Meays colin@dominicwinter.co.uk

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INFORMATION FOR BUYERS AFTER THE AUCTION Online results If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended.

Payment The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form.

Please note successful bids made via the-saleroom.com cannot be invoiced or paid for until the day after an auction.

A live bidding fee of 3% + vat will be added to your invoice.

METHODS OF PAYMENT Cheque Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted.

Cash Payments can be made at the Cashier’s Office, either during or after the sale.

Debit Card There is no additional charge for purchases made with these cards. Debit cards drawn on an overseas bank, however, will be subject to a 2% surcharge.

Credit Cards Visa and Mastercard are accepted, a 2% surcharge will apply. It is a good idea to let your card provider know in advance if you are intending to buy something. This can help cut down the time we need to seek authority when you come to pay.

Bank Transfer All transfers must state the relevant invoice no. If transferring from a foreign currency, the amount we receive must be the total due after the currency conversion and the deduction of any bank charges.

Collection/Postage/Delivery If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has been made.

Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice.

Where it is not possible for our in-house packing department to send your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) who may be able to help.

We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction.

Payment must be received before this option can be requested. A charge will be added to your invoice for this service.

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VINTAGE PHOTOGRAPHY Thursday 15 October 2015

Further entries now invited. Please contact Chris Albury: chris@dominicwinter.co.uk 01285 860006

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Conditions of Sale and Business 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims.

2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account.

3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 19.5% and assents to the Auctioneer receiving the said commission.

4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared.

5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due.

6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.

7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded.

8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer.

9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof.

10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to the Auctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions.

11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage.

The value of the goods so covered will be the hammer price, or in the case of unsold lots the best bid, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions.

12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses.

13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots.

14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein.

15. These conditions shall be governed by and construed in accordance with English Law.

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#

DOMINIC WINTER SPECIALIST AUCTIONEERS AND VALUERS Saleroom and Offices: Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 Fax: 01285 862461

COMMISSION SLIP Please Bid on my behalf at the sale on 17 April 2015 up to the amount shown.

I acknowledge that I will be required to pay a buyer's premium at the current rate.

Lot ÂŁ Brief Description ______________________________________________________________________________________

Name: Address

Telephone: Email:

Fax:

Postage can be arranged for most purchases. For UK and European customers we use DPD (formerly Parceline) or Royal Mail: a separate charge is added to the invoice (minimum ÂŁ15) and parcels are despatched as soon as possible after payment has been received. All framed and glazed items and all lots for overseas customers outside Europe will be sent to Mail Boxes Etc. (tel: Swindon 01793 525009) or R.F. Shipping (tel: London 0845 873 6240). Both of these companies will quote and invoice separately. Please note: DWBA invoices must be paid before consignments are handed to third party shipping companies.

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The nearest train station to the saleroom is Kemble (BR) which is on the London (Paddington) to Worcester Shrub Hill line. Train journey times from London are on average 90 minutes whether direct or with one change, and run at about one per hour from early until late. Several of the trains in each direction are direct and about half the services require a brief change at Swindon. Customers are advised to check train times and book as early as possible for the best range of ticket services and discounts.

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western)

Online train timetables and online ticket bookings:

www.nationalrail.co.uk

Taxis from Kemble Station (5 miles/10 minutes) Brian's Cabs Cirencester Radio Cars Cirencester Taxis

01285 655299 / 07980 579947 01285 650850 01285 642767

Taxis from Swindon Station (12 miles/25minutes) V-Cars

01793 701701

Cirencester Visitor Information Centre

+44 (0)1285 654180 cirencestervic@cotswold.gov.uk

Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk

Photography by Ben Cavanna – 07968 342013 bencavanna@gmail.com

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ISLAMIC, INDIAN & ORIENTAL ART Friday 13 November 2015

Further entries now invited. Please contact Matthew Farren: matthew@dominicwinter.co.uk 01285 860006

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