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Photography: The First 150 Years 9 MARCH 2018


Photography: The First 150 Years FEATURING THE JOHN HANNAVY COLLECTION OF VICTORIAN PHOTOGRAPHS & CASED IMAGES

9 March 2018

COMMENCING VIEWING

10am Tuesday 6 March 9am-6pm Wednesday 7 March 9am-6pm Thursday 8 March 9am-6pm Morning of sale from 9am

AUCTIONEERS

Chris Albury Nathan Winter

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ T: +44 (0) 1285 860006 F: +44 (0) 1285 862461 E: info@dominicwinter.co.uk www.dominicwinter.co.uk


SALE INFORMATION All lots are offered subject to the Conditions of Sale and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 24% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which the case the buyer’s premium is 20%. Artist’s Resale Rights Law (Droit de Suite). Lots marked with AR next to the lot number may be subject to Droit de Suite. For further details see Information for Buyers at rear of catalogue. BIDDING Bidding in Person: Customers are asked to pay cash or establish a credit with the Auctioneers prior to the sale. Payment may be made while the sale is in progress: please see the cashier in the auction office. For all other payment arrangements please refer to information at the end of the catalogue. Online Bidding: Live online bidding is available at the-saleroom.com and invaluable.com.

Commission Bids: Commission bids may be submitted for this sale in a number of different ways: T: +44 (0) 1285 860006 F: +44 (0) 1285 862461 E: info@dominicwinter.co.uk Via our website www.dominicwinter.co.uk Please ensure that all commission bids reach us by 10am on the morning of sale. Telephone Bids: Telephone bids only accepted for lots with estimated value greater than £300 and should reach us by 9am on the morning of sale.

LOCATION LOCAL TAXI SERVICES Brian’s Cabs - Cirencester 01285 655299 / 07980 579947 V-Cars – Swindon 01793 701701

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

Photography by Ben Cavanna – 07968 342013 bencavanna@gmail.com Marc Tielemans - 07710 974000 marc@tielemans.co.uk


CONTENTS Nineteenth-Century Photography

1-80

Twentieth-Century Photography

81-125

Magnum Photos: The Early Years

126-168

Colin Osman & Creative Camera

169-198

Pioneer Photographers & Pictorialists

199-240

Roger Fenton in the Crimea

241-255

Guillemin’s Photography Handcart Cased Images, Lantern Slides & Negatives

256 257-288

The John Hannavy Collection of Cased Images: Cased Images, Albums, CDVs & Stereoviews

289-345

Thermoplastic Union Cases

346-459

Union Cases of John Smith of Birmingham

460-476

Photographs in Wall Frames

477-491

Cover illustrations: Front cover: lot 202 Inside front cover: lot 312 Inside back cover: lot 159 Back cover: lot 231


Evelyn de Morgan (1855-1919). ‘The Winds imprisoned in the cave of Aeolus’, an original drawing from a series of twelve lots of the artist’s work 8 March: Various estimates

FORTHCOMING SALES IN 2018 Wednesday 7 March

Printed Books, Maps & Documents Natural History & Sporting Books & Pictures English Caricatures 1770-1950

Thursday 8 March

Fine Art & Antiques Old Master & Modern Paintings, Drawings & Prints Furniture & Effects from the Estate of Robert Hardy

Wednesday 11 April

Printed Books, Maps & Documents British Bee Books

Wednesday 25 April

Valuation Day : Rosemoor, Devon

Wednesday 16 May

Printed Books, Maps & Documents Atlases, Travel & Exploration

Thursday 17 May

Motoring, Cycling, Maritime & Railway History Motoring Collectables, Literature, Bicycles & Models In Association with Transport Collector Auctions

Friday 18 May

Militaria, Aviation & Naval History Medals, Arms & Armour, Stamps & Coins

Wednesday 20 June

Printed Books, Maps & Documents

Thursday 21 June

Fine Art & Antiques

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


NINETEENTH-CENTURY PHOTOGRAPHY & TRAVEL PHOTOGRAPHY To commence at 10am

Lot 1

Lot 2

Lot 3

1* Anderson (James Isaac Atkinson, 1813-1877). A group of five albumen print photographs of sculptures in the Vatican, early 1850s, including Crougas and Damoscenes by Canova, plus Meleager, Antinous and the Discobolus of Naucides, 33 x 21 cm and similar sizes, original individual large paper mounts with ink and faded pencil captions beneath (5)

£300-500

2 Annan (Thomas, photographer). Illustrations of Mary Queen of Scots: a Poem by Henry Glassford Bell..., being Photographs from Pictures painted for the Art-Union of Glasgow, by Robert Herdman, R.S.A., Glasgow: Art-Union of Glasgow, [1868], four mounted albumen print photographs, each approximately 31 x 23.5cm (12 x 9ins), title printed in red & black, occasional spotting and soiling, contents detached from cover, original gilt and blind-stamped cloth, lightly marked, spine worn with front joint splitting, folio Gernsheim Incunabula, 407. (1)

£200-300

3* Architecture. A large salted paper print of a cathedral tower, c.1850, numbered 116 in the negative, short closed split to lower right margin, 42 x 27cm, together with four other smaller architectural studies, albumen prints, 1860s/70s, including Florence, Kent and stonemasonry restoration of a church (5)

£200-300

4* Army Medical Museum, USA. A surgical photograph of a bullet hole through a human spine, Fort Yuma, California, 1873, albumen print photograph, on original mount for the International Exhibition, Philadelphia, 1876, descriptive text above and below, printed descriptive label to verso, water damage to lower part of mount, away from image though affecting some text, image 180 x 150mm, together with a large anatomical stereocard, 1870s, and three later anatomical gelatin silver prints of a human foetus, human brain and skull of a python The label to the mount verso of the first item reads: ‘Photograph no. 349. Shot Fracture of Vertebrae. Private W. Castle, 6, 23rd Infantry, was shot at Fort Yuma, California, while drunk, by an acting sergeant of the guard, September 24th 1873’. (5) £100-150

5

Lot 4


5* Biggs (Thomas, 1822-1905). Sangameshwara Temple at Pattadakal in Karnataka, 1866, albumen print, 28 x 39cm, original mount with printed label caption to lower margin, together with 12 other miscellaneous albumen print portraits of Indian interest, c.1870s/1890s, including a group of seven portraits on original mounts from ‘The People of India’, 1870s, by Charles Shepherd and others (13)

7* Brazil & Thailand. A group of 12 gelatin silver prints of Rio de Janeiro, c.1920, approximately 16 x 21 cm and slightly smaller, plus seven gelatin silver prints of elephant fighting in Thailand by Robert Lenz of Singapore, c.1900, approximately 18 x 27 cm and some smaller, some marginal tears and surface abrasions, photographer’s stamp and adhesion remains to versos (19)

£400-600

£100-150

6* Bourne (Samuel, 1834-1912). Pathans, Peshawar Valley, India, 1860s, albumen print photograph, showing a young boy, a young prince alongside and further men with weapons standing around, numbered 1389 in the negative and with manuscript caption to mount, 20.5 x 28cm, together with five further large Bourne views plus five small-format views and an albumen print of a carriage and pair by Shepherd and Robertson (negative number 1128), 18.5 x 23cm, all on individual mounts (except two back to back and neatly titled in ink to lower margins) (12)

£300-500

Lot 8

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

6


Lot 9

Lot 10

Lot 11

8 Britanny, Normandy and Andalusia. Two large-format photograph albums, 1889, volume 1 containing calligraphic dedication leaf (with date) and 96 platinum or albumen prints, most measuring between 11 x 16 cm and 12 x 18 cm or reverse, depicting landscapes, street scenes and locals in Britanny and Normandy, and a few English locations including Cleeve Prior and Corfe Castle (these with pencilled captions), volume 2 containing 32 large (26 x 20 cm) professional albumen prints of Burgos, Granada, the Alhambra, Toledo, Cordoba, Gibraltar and a market scene probably in Morocco, captioned in the negative; all prints mounted rectos and versos to stiff card leaves, foxing to mounts, contemporary half morocco bindings, worn, volume 1 spine defective, volume 2 rear board detached, folio

10 China and Japan. Personal photograph album, c.1895-6, 199 albumen prints mounted rectos and versos to stiff card leaves, generally measuring approx. 8 x 10 cm (occasionally cut and mounted into patterns), slightly later pencilled captions, school prize inscription to front free endpaper (‘To ?Cellie Van de Velde, for General Proficiencey, S. H. Nicholls, Pract. School, Hurlstone, Xmas 1895’), a further 17 photographs loosely inserted, together with an autograph letter in French from Louis-Elisé Fatiguet of the Vicariate Apostolic of Northern Kiangsi to an unnamed recipient, dated 1 February 1896 and thanking him/her for sending a collection of ‘photographies ... très bien réussies’, contemporary black skiver album, spine perished, the leaves remaining wirestitched in linen-hinged bifolia, folio

(2)

Contains images of Hong Kong, Canton, Nanking, Tientsin, Peking, Chekiang, Macao, and junks on the Peiho River; there are also photographs of Nikko, Yumoto, Tokyo, Kobe, Nagasaki, and Yokohama. The compiler appears to have had access to French diplomatic circles as there are photographs of Jules Harmand, French ambassador to Japan (1894-1905), and of the embassy grounds. (1) £400-600

£200-250

9* Chile. An album of 74 albumen print photographs compiled by European settlers in Valparaiso, Chile, c.1880s, subjects include portraits and groups, sports and club grounds, horses and Valparaiso Paperchase Club, birds and animals, flowers and plants, some humorous shots, many images approximately 11.5 x 18cm and mounted one to a page on stiff card album leaves and back to back throughout, neat detailed ink captions to mounts, all edges gilt, contemporary padded morocco, some wear, upper cover detached, oblong folio (1)

11* China. Panorama of Shanghai, China, by Burr Photo Company, 1920s, gelatin silver print panorama photograph on one sheet, with photographer’s details to right-hand edge, two creases, a few lighter ones, right edge slightly worn, but overall in good condition with clear details, 160 x 1100mm

£400-600

(1)

7

£700-1000


14* Corfu. Two rare views of Corfu, c.1870, albumen print photographs, both showing British three-masted warships at anchor, one 21.5 x 33cm, arched top, the second photograph 17 x 33cm, paper mounts (2)

£300-500

12* China. Executions, Canton, early 20th century, a pair of large silver print photographs, one of ‘Heads left as a Warning to Thieves in Public Street’, 165 x 250mm, the other of an ‘Official Execution of Robber on Military Parade Ground’, 245 x 185mm, old card mounts with typed captions pasted to lower margins (2)

£200-300

13* Cliff Dwellings, Arizona. A group of 10 albumen prints by C. Osbon, c.1880s, including cliff dwellings, skulls and artefacts, views in Flagstaff, Arizona, many numbered in the negatives, four tipped on to mounts, three typed captions, images approximately 11 x 18cm (10)

£100-150

Lot 15 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

8


15 Coronation Durbar, Delhi. A complete set of 96 gelatin silver print photographs of the Durbar by G.W. Lawrie & Co., Lucknow, 1903, images 115 x 90mm, window-mounted two to a page with photographers’ printed broadside listing of the 96 photographs loosely inserted, contemporary half roan, backstrip deficient, small folio (1)

£600-800

17* Delmaet & Durandelle (fl. 1860-1870). A group of five photographs of ornamental stonework for the Paris Opera, c.1860s, albumen prints on original mounts with embossed stamps and neat ink captions, 26 x 36cm and smaller (5)

16* Delamotte (Philip Henry, after). Queen Victoria presiding at the ceremony for the opening of the re-erected Crystal Palace in Sydenham, 1854, later printing, 20 x 15cm, original card mount, together with The Crystal Palace Scrapbook [so titled on upper cover], early 1850s, 12 mounted albumen print photographs of the New Crystal Palace at Sydenham, 15 x 22cm, versos blank, some spotting, original morocco gilt, heavily rubbed and repaired at head and foot of spine, oblong small folio, plus an oval albumen print photograph of Queen Victoria and children mourning Prince Albert, 1862, 15.5 x 13cm, original mount (3)

£200-300

18* Early Photography. A group of 9 early photographs, 1850s and 1860s, including images by James Mudd (albumen prints of Richmond Castle and Barnard Castle, Yorkshire), Roger Fenton (Trafalgar Square, London, c.1858, salt print, soiled and damaged), Delamotte & Cundall (Kirkstall Abbey, Yorkshire, albumen print), Lord Otto Fitzgerald (Lord Canterbury, albumen print), plus other medium and large format photographs in mats, plus four small format (7 x 9.5 cm and smaller) salt prints of an English family and two outdoor scenes, one dated 1857 to verso

£150-200

(13)

9

£200-300


19 Embley Park, childhood home of Florence Nightingale. An album of 136 albumen print photographs, c.1870s, pasted onto rectos and versos of a total of 32 leaves, with approximately 20 blank leaves at rear, the majority of photographs 11 x 15.5cm with arched tops and mounted three to a page, the remaining photographs mostly carte-de-visite sizes and smaller but including five slightly larger, bold pencil block capital captions to mounts throughout, an additional five photographs of artworks at rear, oblong folio, ink provenance inscription to front pastedown, hinges weak, contemporary half roan, rubbed and some edge wear, lacks spine, oblong folio (32.5 x 43.5cm)

treat to the children of Wellow School, 140 of whom attended. Some visitors and several of the mothers of the children were kindly invited to join, making the party 170. A beautiful day added to the enjoyment of all. Some very good photographic views were taken of the happy group by Mr Galton, of West Wellow. After enjoying various games and again partaking of refreshment, the majority of the children were started In a conveyance provided for the purpose, and left the grounds with cheers and merry singing.’ This ‘Mr Galton’ is in fact John Thomas Gaulton of West Wellow. He appears as a ‘Photographer’ living in West Wellow on both the 1871 and 1881 censuses. Towards the back of the album, there are several photographic reproductions of paintings of the family, including the 1828 watercolour of Frances Nightingale with her two daughters. There is also an albumen print portrait of Florence Nightingale by Henry Hering, a larger version of a photograph usually only seen in carte-de-visite format.

The album was compiled by a member of Florence Nightingale’s family while living at Embley Park during the seven years following the death in 1874 of Florence Nightingale’s father, when the house passed to his wife’s brother, Samuel Smith.

Inscriptions on the inside front cover indicate that the album was compiled by Mary Urith Coltman, the young daughter of Florence Nightingale’s first cousin, Bertha Coltman. On the death of Mary Coltman’s grandmother Mary (‘Mai’) Smith in 1881, the house passed to William Shore Smith and Mary Coltman went to live elsewhere, but before her departure she gave the album she had compiled to her friend Caroline Long, daughter of local woodsman George Long of Thorpwood Cottage in East Willow. According to the 1881 census, Caroline was a ‘charwoman,’ so it seems likely that the girls’ friendship came about through Caroline’s employment at Embley Park.

The album contains numerous views of the house, its grounds, members of the family, the servants at Embley Park, Embley Farm, the local church, St Margaret of Antioch, and its churchyard where Florence Nightingale was later buried. Of particular interest are three good views showing the interior of the house as Florence Nightingale would have known it. Members of the family represented in the album include: Mary (‘Mai’) Smith, Beatrice Lushington, Blanche Clough, Mary Urith Coltman and her brother Arthur Francis Coltman (the five members of the family at the house on the night of the 1881 census); Florence Nightingale’s uncle Samuel Smith (Mai’s husband who died in 1880); Florence Nightingale’s cousin Bertha Coltman, her husband William Bacheler Coltman and their four children. The album also includes a previous unknown outdoor portrait of Parthenope Nightingale and her husband Sir Harry Verney with Parthenope and Florence’s father, William Edward Nightingale. Two photographs show an outside lunch given for the children of the local school. According to the Hampshire Advertiser (27 September 1879): ‘ SCHOOL TREAT - On Monday, the 15th inst., Mr and Mrs Samuel Smith, of Embley Park, gave their usual

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

On 12 February 1893 Caroline married Albert George Harris, a ‘Labourer,’ at All Saints Church in Upper Norwood. The 1911 census shows Caroline and husband Albert Harris, now a ‘Bricklayer,’ living in Upper Norwood with their seven children. The first few pages of the album present various views of Combe Hurst at Kingston-upon-Thames, the Coltman residence in Surrey where Mary Coltman lived before she came to Embley Park in 1874. These have been misidentified by Caroline Long as Embley Park. (1)

10

£700-1000


11


Lot 20

Lot 22

20* Ethnograpy. A good collection of ethnographic images, 19th & early 20th century, a mixture of albumen and gelatin silver print photographs, including subjects from Malaya, Japan, Arabia, Mexico, Africa, etc., 17 x 23cm and smaller, mostly loose but some on old album leaves (26)

£400-600

21 Europe. A group of seven photograph albums, mostly late 19th century, albumen prints plus some gelatin silver prints, including views in Britain, Italy, Norway, plus some Middle East interest, various bindings, some wear, 4to/folio (7)

£200-300

22 Europe. A group of four photograph albums, late 19th century, mostly albumen prints, including views, architecture, sculpture, etc., in Italy, Morocco, Spain, France, various sizes, some captioning to mounts, contemporary morocco/half morocco, all somewhat worn, folio/large 4to (4)

£150-200

Lot 23 23* Female Surgeons. A collection of approximately 70 photographs and 200 negatives of surgical procedures, 1940s-1950s, the photographs taken by Andrew Quilliam, Senior Lecturer in Anatomy and Embryology, University College London, the surgical procedures given by male and female surgeons, some of the photographs presented in four small albums, images mostly 6 x 8cm but some larger One of the albums with approximately 30 photographs of surgical procedures is titled in manuscript ‘An abridged collection of photographs taken in various departments of some of the hospitals which I have attended whilst a student 1940-1943’; a further album contains 20 photographs of surgical images titled ‘UCH Obstetric Hospital’: 1. Labour Ward, 2. Gynaecological Theatre... Gynaecological Ops by Miss Dearnley, Dr Bell, Dr Politzer; another album of 22 photographs of operations by Miss Barnes, Miss Dodds and others. One album in not annotated, but a good proportion of the negatives are identified. (a small carton) £300-500

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

12


24* Dixon (Thomas James, 1857-1943). Lion, London Zoo, 1880s, carbon print photograph, signed in the negative T.J. Dixon, original card mount (spotted but not affecting image), heavy corner crease to mount, matted (1)

£350-450

26 Himes (Charles F.). Leaf Prints: or Glimpses at Photography, 1st edition, Philadelphia, 1868, albumen print photogram of a leaf as a frontispiece (detached), some spotting, upper hinge cracked, original gilt-decorated cloth, rubbed and marked, a little wear to extremities, 8vo

25* Brady (George Stewardson, 1832-1921). Lanercost Priory, Cumbria, 1850s, albumen print from a paper negative, initialled in the negative lower left, 24 x 33cm, original mount, ink identification caption to lower margin, together with eight further early photographic landscape images, including horsedrawn railway carriages at East Leake, York Minster and two Pyraneean views, both torn and initialled in the image (9)

A photogram is a ‘contact print’, a technique later explored by Man Ray in his rayographs. (1) £200-300

£400-600

13


Saché’s large-format photographs are generally arranged to include extensive runs of between ten and twenty views of cities and regions including Calcutta, Lucknow, Agra (including the Taj Mahal), Fatehpur Sikri, Bombay, Ootacamund, Kashmir, Nainatal, Simla, Bombay, and elsewhere. Many of the smaller photographs are similar in composition and content and are possibly also by Saché; the final 40 or so photographs in the second album are apparently from a variety of sources and seem intended to depict the homeward journey of the compiler, probably a soldier in the 105th Regiment of Foot (Madras Light Infantry). They include 15 photographs of Aden and Al Houta (of which five are folding panoramas) and several images of the Suez Canal at Port Said and Suez, including the house of Ferdiand de Lesseps. (2) £4000-6000

27 India. Two large-format albums of albumen prints by John Edward Saché and others, c.1870, 230 albumen prints mounted rectos only to thick card leaves, comprising 162 full-size images measuring approximately 29 x 23.5 cm, the majority of these signed in the negative by Saché with his catalogue number, 10 linenbacked folding panoramas in 2, 3 and 4 parts, the remaining 58 prints in various sizes and orientations, most mounted landscape and measuring 16 x 20 cmm, others measuring up to 27 x 18.5 cm, nearly all photographs captioned in the mounts, linen hinges, gilt edges, armorial bookplate to front pastedowns signed ‘J. W. S. Mackenzie’, prints variably toned as usual, mounts foxed, a few of the panoramas creased, bound in matching contemporary maroon half morocco, ‘Photographic views of India’ gilt-stamped to front boards, front boards and spines detached from album blocks but intact, rubbed and worn overall, water-damage to boards of volume 2, large folio

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

14


28* India. A group of four photograph albums, c.1927-34, gelatin silver print photographs of mostly European people engaged in various pursuits including shooting, riding, etc., one album titled ‘Jind Week, 4th Annual Championship Field Trial, Coursing, etc., 1927’, another Lunch at Mastung..., 1928, photos by Ganesh Das Mullick, Frontier Studio, Quetta, another titled ‘Sibi Week 1930, by the Baluchi Studio’, and the last one of Dhil Nadi Camp, 1934, photographs mostly postcard size and slightly smaller, sparsely captioned, various bindings, oblong 8vo/folio, together with a small quantity of related loose photographs (a small carton)

30* India. A good group of 27 photographs of India, 1860s/1880s, albumen prints, mostly views but including a few portraits, mostly large and medium format, photographers include Bourne, Baker, Clarke, with views of Benares, Islamabad, Himalayas, Delhi, etc., mostly on paper or card album mounts and a few back to back (27)

£300-400

£150-200

29* India. A group of approximately 50 albumen print views, c.1870/1880s, including photographs by Bourne & Shepherd, Rust, W.G. Stretton, Sashay, etc., some staining, various sizes, mounted and loose

31* India. An album containing 44 mounted albumen print views, c.1880, including Agra, Srinagar, Rawal Pindi House, Murree, 1st Punjab Volunteers, etc., a few signed in the negative identitying Baker & Burke, 22 x 28 cm, mounted back to back on stiff card leaves, some faint pencil captions to mounts, contemporary half morocco, some wear, oblong folio, together with a later album of India interest, c.1899, containing 41 corner-mounted printing out paper prints, including buildings, scenes and a few of groups and types, images 10.5 x 15 cm, uncaptioned, contemporary cloth, slightly damp marked, small oblong folio, plus a framed early negative of an Indian group, 24 x 29 cm and 4 early albumen prints of Indian princes on horseback, c.1860s, 13.5 x 10 cm

(approx. 50)

(7)

£300-400

15

£200-300


35 Japan. An album of 32 tinted albumen prints, late 19th century, mostly by Tamamura, including views, temples and people, many captioned in the negative, 20 x 25cm, mounted back to back on stiff card leaves, contemporary lacquered boards with pictorial scenes, lacks spine, oblong folio (1)

36 Japan. An album of 48 mounted hand-tinted albumen prints, late 19th century, all portraiture shots including geisha girls, trades, etc., images 9 x 14cm, mounted back to back and bound concertina style, disbound

32 Iraq. A group of three photograph albums of Iraq, mid 1930s, possibly by L. Wells of the RAF Medical Service, including views, people and scenes, some aviation interest, hospitals, wildlife and genre scenes, a total of approximately 350 corner-mounted gelatin silver prints, 20 x 25cm and smaller, the majority with neat white china ink captions to mounts, hinges weak, contemporary cloth/boards with spine ties, rubbed, oblong folio (3)

£200-300

(1)

£100-150

£200-300

33* Italy. A group of approximately 100 unmounted albumen print views of Italian locations, late 19th century, some occasional damp stains, approximately 18 x 19.5 cm and similar sizes, all rolled (approx. 100)

£100-150

34 Japan. An album of 136 tinted albumen prints, c.1900, mostly mounted as fours and fives to album leaf rectos, uncaptioned, including people and some views, 9.5 x 13.5cm (1)

£100-150

37* Japan. A group of 48 hand-tinted albumen print photographs, c.1890, subjects including Japanese men, women, trades, scenes and views, 138 x 90mm or the reverse, mounted back to back on 24 original card mounts, linen borders, mounts somewhat spotted and soiled

Lot 35

(48)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

16

£150-200


The album compiler would appear to be Mr Bennett to whom a few of the autographed presentation inscriptions are made. Signatories include Colonel E.C. Wilford, Captain J. Miller, Cavalry Depot, Maidstone, Captain B.C. Russell, Royal Fusiliers, H.J.J. Burney, 6th Depot Battalion, (?)Sam Fairclough, R.A. Buchanan, 7th Hussars, Captain Cohglan, 2nd Queen’s Royal Regiment, Thomas E. Houghton, 17th Lancers, Lieutenant Arthur Hill, 23rd Royal Welch Fusiliers, R. Bainbridge, 17th Lancers, David Read, 23rd Royal Welch Fusiliers, W.E. Dakin, Carabineers, and others, group photographs include the School of Musketry evening class, 2nd Section Right Wing and Left Wing. All the dates given in the album are during the course of 1860, the same year as Roger Fenton visited Hythe and became a member of the Hythe School of Musketry, being placed in the 1st Section of Volunteers. Fenton is known to have visited Hythe in February and May of that year, neither of these months appearing in the dated inscriptions in this album. (1) £400-600

38 Kent - Military. A good album containing approximately 84 albumen prints, c.1860, including 42 of individual soldiers, some in regimental dress, many signed on the mount by the sitters and indicating regiments, 14 x 11cm and carte-de-visite sizes, a further 18 military interest of groups with further inscriptions and signatures to mounts, plus topographical views and non-military portraits around Hythe, Maidstone and Walmer, photographs mostly presented one to a page but some topographical views as multiples, photographs 16 x 21.5cm and smaller, largely captioned in ink, a few leaves detached, contemporary half morocco, upper cover detached and backstrip deficient, 4to

17


42 Madagascar. A large album containing over 300 gelatin silver prints of engineering and other work in Madagascar, c.1930s to 1950s, some captioned in the negatives, various sizes, but many 17 x 12.5 cm, corner-mounted on to 32 album leaves and back-toback throughout, eight further leaves with other photographs at rear, some related photographs loosely inserted, contemporary half leather, some wear, oblong folio (40 x 57 cm) (1)

39* Laurent (Jean, 1816-1892). Studies of armour, Spain, 1860s, a good group of 8 albumen print photographs of armour, titled in the negatives, 34 x 26cm and similar sizes, paper mounts, six mounted back to back (8)

43* Malta. A collection of 53 views, c.1880s, albumen print photographs, a total of 53 photographs including seven two-part panoramas, images approximately 21 x 28cm and similar, generally yellowed and occasional soiling and fraying, original card mounts with descriptive letterpress pasted to many versos but relating to images on different mounts, mounts spotted and some corners chipped with loss, oblong folio

£150-200

40* Lehnert (Rudolf & Landrock, Ernst). Prayer in the Desert, 1910, gelatin silver print photograph, photographer details and ‘Phot. Tunis 5052’ in the negative, 590 x 285mm, laid on card mount, together with other Middle East views by Sebah and others, mostly 1880s, images approximately 24 x 19cm and similar sizes (a folder)

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£150-200

£300-400

44* Maxwell-Lyte (Farnham, 1828-1906). Three views of the Pyrénées, c.1860s, albumen prints, 24 x 31 and slightly smaller, original mounts, two with photographer’s embossed monogram to lower mount and one signed ‘Maxwell Lyte’ and identified in ink to lower margin, ‘Le Port Denasqeue, pres Luchon’

41* Lockington Vial (A.E., 20th century). A group of 14 large format gelatin silver exhibition prints of the Alps, c.1940s, 33 x 43 cm, mounted, mostly with pencil captions and signatures to lower mounts, many with numerous exhibition labels pasted to versos, including RPS, Manchester, Newcastle, Leicester, etc. (14)

£150-200

(3)

£150-200

18

£150-200


46 Middle East. Large-format album of albumen prints by Pascal Sébah, the Bonfils studio, Antonio Beato and others, depicting Egypt, the Holy Land, Istanbul, and parts of Europe, c.1880 100 albumen prints mounted rectos and versos within gilt frames to thick card gilt-edged leaves, 23 of the images full-size (265 x 350 mm), of which 7 depict Middle Eastern subjects and 16 European (including 1 not from life), the remaining 77 measuring approximately 260 mm x 200 (or reverse), some slightly larger or smaller, all with calligraphic captions in English to mounts, 6 photographs signed ‘P. Sébah’ in the negative, with catalogue numbers and captions, 2 further photographs unsigned but with Sébah’s identifiable caption in the negative, and 1 captioned on the mount ‘Camels in Sébah’s yard’, 6 photographs signed ‘Bonfils’ in the negative, with catalogue numbers and captions, and 3 unsigned but also with his catalogue number in the negative, and 12 photographs with Beato’s signature in the negative, foxing and soiling to mounts, faint spotting visible in a handful of images, bound in a contemporary black half morocco album, gilt monogram to front board, oblong folio

45* Mexico. A group of eight Mexican ethnographic studies, by Waite, Leach and others unidentified, c.1900, gelatin silver prints, three loose and five tipped on to paper mounts with plate labels pasted beneath, approximately 14.5 x 22cm and three slightly smaller (8)

Sébah’s photographs include Cairo street scenes, a view of the Great Pyramid of Giza dn the Sphinx, Istanbul views and a portrait (‘Dame turque voilée’); Beato’s depict the antiquities at Karnak, Luxor and Philaa; Bonfils’s comprise city views of Beirut and Damascus, and street scenes and architectural subjects in Jerusalem. The first 64 photographs are Middle Eastern and the remaining 36 comprise architectural subjects and objets d’art in Italy, Germany and Prague. (1) £1500-2000

£100-150

Lot 46

19


47* Middle East. An album of 59 mounted albumen prints, c.1880s, mostly large-format views and some of types, photographers include Antonio Beato, Adelphoi Zangaki, Hippolyte Arnoux and others, 35 x 25cm and smaller, all but five mounted one to a page and back to back with ink captions to mounts, contemporary half calf with gilt monogram HM and date 1890 to upper cover, some wear, split along upper joint, oblong folio, together with Garnett (Robert & Mary), Sketches and Letters of Egypt and Palestine, with Sketches in other Countries, 1st edition, Warrington, 1904, black & white illustrations, presentation inscription to Mr and Mrs Marsden ‘My fellow travellers on the Nile’ to front pastedown, contemporary cloth gilt, a little rubbed, large 8vo, plus two matted albumen prints of Venice, by Carlo Ponti and Carlo Naya, mid1860s, and a group of 19 unmounted half plate prints of Pompeii From the collection of John Hannavy. Illustrated in Hannavy, The Victorian and Edwardian Tourist, pp. 104-114. (23) £200-300

48 Military and Travel. A good album of military photographs, portraits and views, c.1860s, including approximately 115 albumen print carte-de-visite size portraits, some royalty and approximately 50 of military interest, many of the 2nd Battalion, 6th Royal Regiment, plus approximately 60 further topographical carte-de-visite size subjects, plus approximately 95 further photographs including approximately 70 of quarter-plate and halfplate sizes, including Jamaica (8), Corfu (4), Guernsey (4), Gibraltar (2), India (15 including larger-format photographs), Malta (2) and a further 10 photographs of military interest, some pen or pencil captions to mounts and a few to lower margins of images, a few leaves loose, a total of approximately 260 photographs on 44 leaves, all edges gilt, contemporary morocco, upper cover decorated in gilt and black with embossed fleur-de-lys motif, covers detached and backstrip deficient, 4to (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

Lot 48

£400-600

20


49* Miscellaneous photography, 19th & 20th century, including a large quantity of albumen prints and gelatin silver prints, subjects including Japan, Middle East, Europe, portraits, etc., broken albums, individual mounts and loose photographs of various sizes (3 cartons)

£300-400

50* Miscellaneous photography, 19th and some 20th century, a good varied collection of travel, scenes, genre subjects, cabinet cards, cartes de visite, etc. (2 cartons)

£200-300

52* Miscellaneous Photography, including British and European views and family scenes, etc., contained in 12 albums, various bindings and sizes

55 Northamptonshire. An album of 195 photographs of Northamptonshire villages, c.1900, the majority of near-deserted street scenes with the occasional figures, plus churches, cottages and houses, etc., images 10 x 13.5 cm, mounted two-to-a-page and back-to-back on stiff card leaves throughout, neat place name identification in ink to mounts beneath, places including Long Buckby, Kings Thorpe, Brampton, Towcester, Dalington, Weston Underwood, Olney, Shropston, Rushden, Harlestone, Buxworth, Newport Pagnall, Guilsbrough, Boughton, Clifton Reynes, Scaldwell, etc., spotting throughout, some leaves detached, contemporary cloth, rubbed and a little wear to extremities, 4to

(a carton)

(1)

51* Miscellaneous Photography, mostly late 19th century, a total of approximately 200 photographs, mostly albumen prints, including views of UK and foreign locations, both loose and as multiples on album mounts, various sizes (a carton)

£100-150

£150-200

53 Morocco. An album containing 92 window-mounted printing out paper prints, c.1900, subjects including local types and scenes, presented two to a page on stiff card leaves, sporadic pencil annotations to mounts including ‘Soldiers returning from drilling on the plains’, ‘Butcher’s shop’, ‘Holy men’, ‘Jewish women washing feet’, Jewish money changers’, ‘Gypsies’, ‘Killing sheep for annual sheep feast’, ‘Kaid Maclean inspecting troops’, ‘Spreading prayer mats on floor for great feast’, ‘Sultan with royal umbrella’, etc., images 9 x 12cm, album somewhat soiled, contemporary boards, lacking spine and leather stripped away, folio

£200-300

56 Philippines. Personal photograph album of the Philippines under American occupation, c.1915, 260 silver gelatin prints mounted rectos and versos to black thick-paper leaves, various dimensions (approximate ranges 6 x 4 cm to 12 x 9 cm or reverse), including landscapes, street scenes, typhoon damage, and photographs of the compiler and his associates, 6 images with later manuscript captions in borders (of which 2 dated 1915), 2 captioned in the negative, several others with catalogue numbers in the negative, pale water-staining to last 10 leaves, post-bound in slightly later black cloth, oblong quarto (17.5 x 26.5 cm)

General Sir Harry Aubrey de Vere Maclean (Kaid) KCMG (1848-1920) was a Scottish soldier and instructor to the Moroccan Army. (1) £400-600

54 Mozambique. Natives of Lourenco Marques, Their Homes and Customs, published D. Spanos, Lourenco Marques, [Naputo], 1920s, 15 colour plates of local types, original printed wrappers with cloth spine tie, a little rubbed and soiled, some fading and a little split at foot of spine, small 4to, together with Territory of Lourenco Marques, published Spanos & Tsitsias, [Naputo], 1920s, 18 colour plates from photographs of scenery, original boards, a little rubbed, oblong 8vo

The photographs with manuscript captions depict Cebu, Luzon and Manila; the professional photographs with captions in the negative depict a male Igorot and the Pagsanjan Gorge. The compiler may have been an American soldier or other functionary. (1) £150-200

Both books have signed presentation inscriptions from the author to titlepages, dated 1923. (2) £200-300

21


57* Photogram of Ferns, England, 1860s, albumen print photograph, 33 x 23.5cm, together with two microscopic studies of fleas, c.1900, and 16 photographs of moths and a magnified photo of a stag beetle (20)

£150-200

58* Photograph albums. A group of eight photograph albums and related, late 19th century, containing British and European views and scenes, plus snapshots, some military and naval interest, plus portraits of Indian princes, etc., albums all partly broken with many leaves detached, various bindings, 4to/folio (8)

£200-300

59 Photograph albums. A group of ten photograph albums, late 19th and early 20th century, including travel, landscape, portraits, genre subjects, albumen prints and gelatin silver prints, various bindings, mostly 4to/folio (10)

£200-300

60 Photographic Literature. Chemical Experiments; Illustrating the Theory, Practice, and Application of the Science of Chemistry, and Containing the Properties, Uses, Manufacture, Purification, and Analysis of all Inorganic Substances, with Numerous Engravings of Apparatus, 1842, wood-engraved figures to text, includes a section on photography, ownership signature of Francis Peabody to title and front endpaper with institutional bookplate to front pastedown, contemporary half calf, joints cracked, some wear, together with Price (Lake), A Manual of Photographic Manipulation, Treating of the Practice of the Art, and its various Applications to Nature, 1858, wood-engraved illustrations, spotting throughout, original cloth, heavily soiled and some wear, 8vo, plus volume 2 of the Journal of the RPS, 1856, covers detached and backstrip deficient, plus seven later technical books and pamphlets on photography

Lot 57

(10)

£100-150

61* Photographic School, Chatham. A collection of approximately 45 albumen print photographs, late 1860s, the subjects engineering works, mainly works on the new docks, showing construction, engineers, excavations, mostly annotated in ink or pencil, the majority 28 x 22cm and four slightly larger (approx. 45)

Lot 59

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

22

£500-800


Lot 62 62 Plymouth and Devon. Family photograph album, 1897-1912, approximately 215 original gelatin silver prints, most 7 x 10 cm and mounted rectos and versos to thick card leaves, 4 to a page, pencilled captions throughout, final leaf loose, contemporary half morocco, spine defective and worn, oblong quarto Album mainly comprising street scenes, views and family photographs in Plymouth and rural Devon, as well as some 40 images of boats in Plymouth harbour, including named Royal Navy vessels, sailing brigs, and a regatta, and visits to various other counties; there are also several photographs of Redvers Buller hosting the London Devonian Society at Downes House, Crediton. (1) £100-200

63* Polo. A good collection of photographs of polo meets, 1870s/1930s, albumen and gelatin silver prints, various sizes and locations, some mounted (20)

64* Postcard & Photograph Magnifier. An ebonised wooden table viewer by A.C. Champagne, 180 rue de Rivoli, Paris, c.1900, upper lid with large circular magnifying lens and etched floral decoration, the box opening into a hinged z-shape with adjustable sliding holder and three viewing angle positions, maker’s label to inner upper lid and split to wooden base, minor marks, 27.5 x 17 x 8cm (closed)

£100-150

(1)

23

£70-100


65* Rome. A group of seven rare amateur photographs, c.1858, a mixture of salted paper and albumenised salt prints, some vignetted, some titled, including ‘Claude’s house from one of our rooms, 1858’, ‘From our drawing room, Spring 1858’, 185 x 135mm and smaller, individually mounted on card and paper album leaves, together with a salt print photograph of St Peter’s, Rome by Robert Macpherson, 17 x 24.5cm, inscribed on mount in a contemporary hand in ink, ‘View from the drawing room window of Mr and Mrs William Yates, 1857-8, Rome’ Ex Cloney Collection, sold by Christie’s South Kensington, 1996. (8)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£600-800

24


Lot 66

66* Royal Engineers, Chatham. A group of twelve albumen prints, c.1887, mostly depicting a group of Royal Engineers winching and levering cannon, approximately 21 x 27 cm and slightly smaller, all but one on individual mounts (12)

£300-500

68* Sinclair (James, 14th Earl of Caithness, attrib.). Parish boundary oak near Ascot Gate, 1864, albumen print, plus four others from the same series: Cedars at maturity in Belvidere Wood, Cedars in old age in Belvidere Wood, Great Beech on Manor Hill and Group of Scotch fir, evergreen oak &c, 28 x 23.5cm, original mounts with printed captions and poetic quotations beneath, mount spotted and old water stain to upper left corners, plus two other large-format carbon print photographs of trees, c.1890, original card mounts

67* Saudi Arabia. A group of 58 mounted gelatin silver print photographs, c.1940s, including street scenes, some views and groups featuring King Ibn Saud, one with five young sons, images approximately 14 x 21 cm and similar, printed captions pasted to mounts recto or versos (58)

£200-300

The first five photographs come from ‘The History of Windsor Great Park and Windsor Forest’, published by Longman, Green in 1864. The photographer is either James Sinclair or William Bembridge. (7) £300-500

25


Lot 69

Lot 70

69* Sutcliffe (Frank Meadow, 1853-1941). Signpost at Sunset, c.1890, carbon print, signed in pencil in the image lower right, narrow margin, 170 x 220mm, laid down on an old card mount, tipped in to an archival boards window mount (1)

£400-600

70* Sutcliffe (Frank Meadow, 1853-1941). Henry Freeman, Lifeboatman at Whitby, North Yorkshire, c.1880, printed c.1910, carbon print, half-length portrait of Freeman wearing his cork lifejacket, together with a gelatin silver print photograph of Freeman in another pose wearing the same cork lifejacket, the first signed by Sutcliffe in pencil to image lower left corner, the second initialled and numbered 259 in the negative, both with signed pencil inscriptions by Sutcliffe to versos giving negative numbers 2072 & 259, 19.5 x 15cm Henry Freeman (1835-1904) was a Whitby fisherman and lifeboatman. He was the only survivor of the Whitby Lifeboat disaster of 9 February 1861, during which a great storm wrecked more than 200 ships on the east coast. During attempts to rescue the stricken vessels the lifeboat capsized and all but one of the crew were lost. Freeman survived because he was wearing a new design of cork lifejacket. (2) £150-200

71* Sutcliffe (Frank Meadow, follower of). Young boy in sou’wester sitting on a upturned boat, c.1910, carbon print, mounted on card, 47.5 x 39cm (1)

Lot 71

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

26

£100-150


72 Tasmania & New Zealand. An album of 32 mounted albumen print photographs, c.1890, including 17 photographs of Tasmania and 15 of New Zealand, some of the photographs captioned in the negative, several photographs by Morris and one by J. Martin, 23 x 28cm and slightly smaller, mounted mostly one to a leaf to stiff card leaf rectos with neat ink captions to most mounts, contemporary half morocco, some wear, oblong folio (1)

£150-200

75* Trees. A group of twelve gelatin silver print photographs of trees and woods, France (?), 1901, many with one or two figures included in the compositions, 23 x 17 cm and the reverse, individual card mounts, all but two signed and dated, ‘E. Biat, 1901’ to lower mounts (12)

£100-150

73* Thompson (Stephen, 19th century). A group of 40 albumen prints of Egyptian antiquities and paintings in the British Museum, c.1870, 22 x 27 cm and similar and smaller sizes, original individual mounts with typed captions and ink library stamps to lower margins of rectos (40)

£300-400

74* Trains. A group of approximately 90 gelatin silver print photographs of train engines, c.1890s, 14 x 20cm, individual card mounts

76* West Indies. A group of ten photogrpahs of Grenada and St. Lucia, c.1900, including five gelatin silver prints of Grenada, the largest 25 x 33 cm, of a two-masted boat with the island behind (brown staining), the other four approximately 14.5 x 20 cm and slightly smaller, some browning to images, mounted on three contemporary album leaves with versos blank, the St. Lucia photographs including one albumen print of Port Castries and harbour by James Valentine, 24 x 29 cm, plus two large gelatin silver prints of the Pitons, 31.5 x 25 cm and 17.5 x 32.5 cm, both with brown staining, on individual contemporary album leaves, plus two further smaller gelatin silver prints of the Pitons, both with brown staining, 14.5 x 19.5 cm and similar

(approx. 90)

(10)

£200-300

27

£300-500


Lot 77

Lot 81

Lot 79

77* West Riding Prison, Yorkshire. A group of 12 albumen prints of prison and staff, 1870s, albumen prints, mounted on rectos and versos of five loose paper album leaves with ink annotations to mounts, 13 x 16.5cm and smaller

79* Woodbury & Page (active c.1858-1900). Portrait of Raden Saleh (1811-1880, Indonesian artist), c.1860s, albumen print photograph, Saleh full-length, sitting at a table with an open book, photographers’ blind stamp lower right, 24 x 20cm

Includes images of the prison interior, the chapel, the old prison exterior, the deputy governor’s house, and portraits of Henry Hampshire, Samuel Newton, Kitchingman Geavel(?), Mrs Geavel, William Talbot and Joseph Goodison. (12) £100-150

(1)

80 World Travel. An album containing approximately 60 photographs, c.1900s, a mixture of platinum prints, gelatin silver prints and some albumen prints, etc., including three platinum print views of Malaysia, four tinted Japanese views, views on the Mediterranean, plus naval ships and related officers, 17 x 26 cm and smaller, many mounted one to leaf and including two unidentified panoramas, contemporary buckram, rubbed, together with two unrelated family albums, one late 19th century British views and portraits and one 1930, containing snapshots of horses and hounds, military training, etc., contemporary cloth, all 4to

78* West Sussex - Bosham. A group of fourteen photographs of Bosham and environs, c.1890, all but one mounted singly to rectos of paper album leaves (numbered in pencil 251-277), a total of nine albumen print photographs and five cyanotypes, including two grey-toned, including views of the centre of Bosham featuring The Crown Inn, boat studies, bracken and thistles, many with brief pencil captions and initials JT to mounts beneath, the first photograph of two women with dogs in a garden identified as Miss Rose Ellicot and Mrs Travers in the garden at St. Ives, Ringwood, [Hampshire], images mostly approximately 15 x 21 cm, disbound, folio

(3)

£150-200

81 York Lodge. An album of 19 platinum prints, c.1900, mostly of the garden, plus one interior view of the library, photographer’s embossed stamp to lower right of images, ‘Walton Adams, Reading’, 22 x 28.5cm, mounted to stiff card leaf rectos, two at rear loose, contemporary quarter vellum with gilt name stamp of York Lodge to spine and upper cover, somewhat soiled and worn, oblong folio

The photographer may be Major John Amory Travers (1847-1915) of St. Ives, Ringwood, Hampshire. (1) £400-600

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£150-200

28

£100-150


TWENTIETH-CENTURY PHOTOGRAPHY 84 Catleen (Ellen). Peking Studies, 1st edition, Shanghai, Kelly & Walsh, 1934, numerous illustrations after photographs, colour and black & white illustrations by F. H. Schiff, endpapers spotted, photograph of sailing boat (light stain to left side) loosely inserted, original cloth, with mounted illustration to upper cover, and printed red ribbon to upper cover, lightly spotted and dust-soiled, spine splitting and fraying, folio

82* Ballet. A group of 20 gelatin silver print photographs by Richard Levin (1910-2000), subjects include Nureyev, Margot Fonteyn, Valery Panov and Sir Robert Helpmann, various mostly larger-format sizes up to 50 x 40cm, some with wetstamps to versos (20)

£150-200

A fascinating photo book, with images of Peking and its inhabitants taken with a Rolliflex. The author also produced a book on Hong Kong in collaboration with the same illustrator. (1) £150-200

83* Buckham (Alfred, FRPS, 1879-1956). Dramatic photograph of a British biplane passing over a Destroyer at sea, 1918, large gelatin silver print, 37 x 46cm, original stiff card mount, photographer’s signature in pencil to mount lower right, inscribed (?)’J.B.D. in rough sea, 1918’ to mount verso (1)

£400-600

85* Chance (George, 1885-1963). Camera Studies of New Zealand, late 1920s, a portfolio of 12 gelatin silver prints on textured paper, signed ‘Geo. Chance FRPS’ and titled very neatly in ink by the photographer to lower margins, images 19 x 23.5cm and similar, exhibition mounts with Camera Study printed labels to mount versos and numbered 6621-6632, loosely conserved in original card portfolio with neat presentation inscription to inside cover, ‘To Mr & Mrs Tatham. A small memento of your trip midst the southern lakes of New Zealand, from Mr & Mrs Robert G. Hudson’, some soiling and slight wear to portfolio, overall 51 x 50cm The photographs are titled: 1. Otago Harbour; 2. Lake Manapouri; 3. Lake Te Amau; 4. Approach to Eglinton Valley; 5. Eglinton River; 6. Lake Gunn, Eglinton; 7. Lake Wakatipu; 8. Lake Wakatipu; 9. Pembroke, Wanaka; 10. Glendhu Bay, Lake Wanaka; 11. Harvest, Wanaka; 12. Mount Cook. (12) £300-500

Lot 84

29


87* Coburn (Alvin Langdon, 1882-1966). Trafalgar Square, London, c.1914, photogravure, mounted on card, signed by Coburn in pencil to lower mount and inscribed in ink to verso, ‘Christmas Greetings to members of the Academy of Osiris from Bro. Alvin & Sr. Edith, 1956’, image 215 x 170mm

86 Civil Engineering. Photographic archive of various engineering projects undertaken by Brims & Co. Ltd: ‘NW Quay (Riverside Quay), Tyne Dock’ and ‘Sutherland Quay, Tyne Dock’, 2 volumes, 1939-42; ‘London-Yorkshire Motorway, River Trent Bridges’, 2 volumes, 19634; ‘Darlington By-Pass, Bridges’, 2 volumes, 1963-4, ‘NW Quay, Tyne Dock’ and ‘Riverside Quay, Tyne Dock’ respectively containing 47 and 36 gelatin silver prints (20 x 25.5 cm; image size 15.5 x 21 cm), dated in the negative, blind- and wet stamps of W. H. Elliott of North Shields, each set loose in photographer’s original brown clothbacked portfolio with pencilled titles to front boards and mild wear to extremities, oblong 4to and 4to; ‘London-Yorkshire Motorway, River Trent Bridges’ and ‘Darling By-Pass Bridges’ containing in total approximately 380 gelatin silver prints, 6 colour photographs and 2 printed plans, including some 120 in large format (approximately 21 x 16 cm) of which 3 loosely inserted, 250 in small format (12 x 9 cm), and a few of intermediate size, all corner-mounted rectos and versos to black light card leaves, wet stamps and negative numbers of G. Hewson or W. E. Middleton and Sons (both of Nottingham) on versos, neat manuscript captions throughout in white ink, each work ring-bound in 2 snakeskin-effect black cloth albums (4 in total), a few leaves loose and 4 captioned prints lacking in Trent Bridges volume 2, oblong folio

(1)

£300-400

Well-preserved visual record of the expansion of the Tyne Dock during the Second World War by Newcastle engineering firm Brims & Co. Ltd, and of their involvement in the construction of the M1 and upgrading of the A1 at Darlington twenty years later. The four albums relating to these last two projects appear to have been compiled as the company’s official record of proceedings. Brims & Co. Ltd was wound up in 1993 but recommenced trading in 2006 as Brims Construction Limited, now based in Sunderland. (4) £300-500

88* Comedians. A group of mostly vintage gelatin silver print photographs by Richard Levin (1910-2000), c.1960s and later, subjects include Eric Sykes, Hattie Jacques, Wilfred Bramble, Benny Hill, Sid James, Jimmy Edwards, Robert Morley, Bob Hope, Harry Worth, etc., 50 x 40cm and smaller, some with wetstamps and identifications to versos (25)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

30

£100-150


91* English Topography. A group of 34 gelatin silver print and albumen prints of English towns and villages, c.1910-1920, many showing people and early motor cars, all from the Francis Frith archive, annotated to versos, with Frith’s numbering and location details, 15 x 20 cm, three mounted, the remainder loose Locations include Hitchin, Dorchester, Bodmin, Southport, Cookham, etc. (34) £100-150

89* Drtikol (Frantisek, 1883-1961). A rare study of a male nude [Dr A. Wood Smith], 1930s, photogravure on tissue paper, 20 x 16cm, on original mount, with a half-tone print of the image in reverse, together with a group of photographs by Dr A. Wood Smith, 1930s, gelatin silver prints, including a group of five large studies of dancers, together with a further collection of 45 smaller studies of a dancer in motion, eight large studies of female nudes and one male nude, mounted, a few signed on mounts, the largest images 50 x 40cm, the smallest 14 x 10cm

92* Family photograph albums. A group of eight photo albums, late 19th and early 20th century, containing window-mounted gelatin silver prints of family life, boats, rock climbing, portraits, children, seaside scenes, etc., mostly UK, images approximately 7 x 9.5cm and similar, scattered annotations, together with some similar photographs on mounts, a total of approximately 400 images, contemporary cloth, rubbed, large 8vo, plus an assorted collection of loose mostly early 20th-century snapshots and photos (a carton)

Male nude studies by Drtikol are scarce. From the collection of the model. (approx. 50) £200-300

£150-200

90* Ellis (Rosemary & Charlotte, 20th century). A collection of approximately 200 gelatin silver print photographs, c.1970s, subjects featuring pipes and wires, windows, etc., many approximately 20 x 20 cm and similar sizes, largely blank to versos, together with copies of their books ‘Pipes and Wires’ and ‘Windows’ in the Outlooks and Insights series published by Bodley Head, 1975

93* Fashion. A group of 32 colour photograph press prints by Sipa Press, c.2001-2007, mostly individual Paris fashion models, credits to versos or right margins of rectos, 26 x 17.5 cm and similar

(approx. 200)

(32)

£200-300

31

£150-200


Lot 94

Lot 95

Lot 96

94* Ferrer (Marc, 20th century). Les Halles de Paris, 1960s, a collection of 16 gelatin silver print photographs of the meat market in Paris, images approximately 23 x 17cm, all but two mounted on card with photographer’s ink stamp to versos

96* Glass (Stephen, 20th century). A group of 35 vintage gelatin silver print photographs, 1940s/1950s, including 21 female nudes, plus 14 others, including some glamour, mostly with wet stamps to versos, approximately 30 x 22 cm and smaller

(16)

(35)

£200-300

£150-200

97* Holmes (Randolph Bezzant, 1888-1973). The Old Pathan, NWFP, India, c.1900-1920s, together with 24 further images by Holmes, toned platinum print photographs and gelatin silver prints, some with photographer’s stamp, many signed and numbered in the negative, mostly approximately 240 x 290mm or the reverse (25)

£400-600

94A* Flowers (Adrian John, 1926-2016). A very large archive of work of Adrian Flowers, a leading advertising photographer during the 1960s-1980s, the archive consisting of vintage gelatin silver prints, chromogenic and Cibachrome prints, and colour transparencies, many in large formats, mostly loose but including a few mounted and signed, and some colour work laminated, partly contained in three metal cases Adrian Flowers was a British photographer known for his portraits of celebrities that included Twiggy, Paul and Linda McCartney and Vanessa Redgrave. His assistants including Terence Donovan, Brian Duffy and Chris Killip. A fascinating resource for the history of 20th century advertising. (an archive) £300-500

95* French Industrial Scenes. A group of seven gelatin silver prints, early 1930s, one with figures, negative numbers and dates in the negatives, approximately 16 x 22cm or the reverse, matted in modern thick paper mounts (7)

98* Holmes (Randolph Bezzant, 1888-1973). An album of 12 views around Peshawar and Attok Fort, 1930s, gelatin silver print photographs, some signed and some signed in the negative, mounted to rectos only, approx. 230 x 270mm and similar sizes, presentation inscription dated 1938 at rear, contemporary boards with cloth spine tie, slightly rubbed and soiled, oblong folio, together with a group of fifteen further images by Holmes, some with photographer’s stamp, many signed and numbered in the negative

£150-200

(16)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

32

£200-300


Lot 99

Lot 101

Lot 103

99* Irish Rebellion. A collection of 12 postcards of ‘Rebels’ of the Irish Uprising, Dublin: Powell Press, 22 Parliament Street, 1916, black and white portraits from photographs with printed captions and details, versos undivided and postally unused Subjects include Countess Markievicz, Joseph Plunkett, Thomas J. Clarke, James Connolly, The O’Rahilly, Eamonn Ceannt, Cornelius Colbert and Major John McBride. (12) £100-150

100* Lake District. A large gelatin silver print photograph of a high view in the Lake District, c.1930s, a climber with ropes and wearing a trilby hat seated atop a rocky crag near right, 37.5 x 30cm, framed and glazed Evidence of touching up in the negative, especially in the more distant hills. The photograph appears on the cover of John Marsh, Keswick and the Central Lakes in Old Photographs (1993). (1) £100-150

101* Levin (Richard, 1910-2000). A large group of gelatin silver print photographs and contact prints, c.1960s and later, including some large format, subjects include Duke Ellington, circus, musicians, etc., some mounted as multiples and some matted (a carton)

£200-300

102AR* Libbert (Neil, born 1938). Francis Bacon, outside his home on his 80th birthday, London, 1989, vintage gelatin silver print, signed by Libbert and marked Copyright to verso, 240 x 170mm, matted (1)

£600-800

103* Marquis (Jean, born 1926 ). A group of eight photographs of scenes from the film Le Grand Jeu (Flesh and The Woman/The Card of Fate), directed by Robert Siodmak, 1954, vintage gelatin silver prints, all but two with one corner crease, Jean MarquisMagnum Photos wet stamp to versos, 30 x 20 cm and the reverse (8)

£250-350

Lot 102

33


104* Modern Photography. A large group of approximately 100 miscellaneous 20th-century photographs, including some colour photographs, large format prints, various subjects and styles, many mounted and some laminated, 3 framed and glazed, plus 2 photographic postcards signed by Jan Saudek (approx. 100)

Lot 106

£100-200

105* Music and Opera. A group of 35 vintage gelatin silver print photographs by Richard Levin (1910-2000), c.1950s/1970s, subjects include Yehudi Menuhin, Isaac Stern, Gyorgy Cziffra, Boris Christoff, Tito Gobbi, Victoria de Los Angeles and Elizabeth Schwartzkopf, etc., the majority larger-format sizes up to 50 x 40cm, some with wetstamps and other marks to versos (35)

£150-200

106* Musicians. A group of 9 large format exhibition prints of musicians by Gilbert Adams, c.1980, including David Bentley (French horn), Amaryllis Fleming (cello), Tom Eastwood (composer), and Alice Trentham (harp), approximately 48 x 38 cm, 5 matted, together with three photographic portraits of the author G.K. Chesterton, two by James Craig Annan, c.1900, but printed later, and one by Speaight, with facsimile signature to mount (12)

107* Nude. A colour pigment print photograph, c.1920, showing a female nude in profile, embossed monogram WA(?) lower left, image 29 x 18cm, presented in Art Nouveau gilt and black frame, glazed, remains of Art Shop label preserved (Kaufman’s Art Shop, Oakland, [California]), together with an albumen print portrait of a monk or saint with halo, c.1890, 24 x 19cm, presented in a whitepainted wooden frame with twin doors and broken clasps, somewhat soiled and distressed, overall 35 x 30cm

£150-200

(2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

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£100-150


110* Olympus and Carl Zeiss Jena Cameras. Collection of vintage SLR 35mm film cameras and lenses, including Olympus OM-2n camera (silver, serial number 745512) with Zuiko 50mm f/1.8 lens, Olympus OM-10 camera (silver, serial number 1571319) with Zuiko 50mm f/1.8 multi-coated lens, Olympus OM-10 camera (black, serial number 1708263) with Zuiko 50mm f/1.8 multi-coated lens, Vivitar 70-150mm f/3.8 multi-coated macro zoom lens (serial number 22202103) with Vivitar 2X-21 MC tele converter, Ozeck II 135mm f/2.8 macro multi-coated lens (serial number K8400078), Miranda 35-70mm f/3.5-4.5 macro multi-coated zoom lens (serial number OM96100609), Cimko 24mm f/2.8 multi-coated lens (serial number 609328), Olympus T20 electronic flash, Carl Zeiss Jenaflex AM-1 Electronic camera (UK version of Praktica BC1) with leather case and Prakticar Pentacon 50mm f/2.4 multi-coated lens, Prakticar Pentacon 55-200mm f/4-5.6 multi-coated zoom lens (serial number 1019556), Praktica BC2500 Zoom flash gun, set of 3 close-up filters (49mm), all untested but working when last used several years ago Sold as seen, not subject to return. (a carton)

108* Nudes. A group of three vintage gelatin silver prints, including a full-length female nude by Josef Vetrovsky, c.1930, blindstamped to lower margin, 31.5 x 23 cm, the other two of a female formm in a field by John Blakemore, 1971, both signed to versos and noted as artist’s proofs, 1980, 15 x 23 cm and similar, both matted (3)

£100-150

111* Osborne (Li, 1883-1968, attrib.). Portrait of a young Bertolt Brecht, c.1926, bromide print, head and shoulders in half profile, wearing shirt and tie and looking pensive with hair cut short, corner crease lower left, verso blank, 20.5 x 15.5cm, together with a portrait of Igor Stravinsky by an unidentified photographer, c.1950s, gelatin silver print, showing the composer sitting in suit and tie staring into the camera, against a curtain backdrop, a few marks and light creases, verso blank, 23 x 13cm

109* Nudes. An archive of gelatin silver prints, enlarged contact sheets and negative files of female nude photography, 1960s, loose mounted and contained in two ring binders, various sizes (a folder)

£100-150

£150-200

(1)

35

£150-200


112* Parkinson (Norman, 1913-1990). A good group of British Airways subjects, c.1950, all vintage gelatin silver prints showing grounded aircraft and crew from various angles, 6 with Norman Parkinson wetstamps to verso and some with John Stroud Collection and Aviation Picture Library to versos, mostly 19 x 24 cm or the reverse and similar sizes (38)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

ÂŁ1500-2000

36


113AR* Parkinson (Norman, 1913-1990). Peter and Gordon, 1960s pop duo, London, c.1964, unique vintage gelatin silver print photograph, annotated to verso with reference details, 40 x 30cm, framed and glazed

115* Pictorialism. A collection of 21 pictorialist studies, 1940s, approximately 28 x 21.5 cm and smaller, including gelatin silver prints, carbon prints and gum bromoil prints, tipped onto card or paper mounts, signed in pencil by the photographers, and contained in a purpose-made contemporary half morocco gilt folio case

Peter Asher and Gordon Waller achieved a number one hit with the song ‘A World Without Love’ written by Paul McCartney, who was at the time seeing Peter’s sister Jane Asher. Provenance: Gift of the photographer to the previous owner. (1) £400-600

The collection was presented to John MacSymon by the members of the Postal Camera Club in 1947. Their signed presentation bookplate and accompanying letter is included with the lot. (1) £100-150

114 Photographic Literature. A large collection of apprximately 160 mostly British photography auction catalogues, 1970s/early 2000s, together with a quantity of publications including History of Photography plus a few issues of the Photographic Collector and Camera (3 cartons)

£100-150

37


116* Ponting (Herbert, 1870-1935). A collection of 131 gelatin silver print contact prints, of Antarctica, 1910-1912, printed later, pencil numbers to versos (in the range A3 to A195), images 9 x 12.5cm or the reverse A significant selection of photographs from the 2,000 photographs taken by Ponting during Captain Robert Scott’s Terra Nova Expedition 1910-1913. The collection includes well-known images published in newspapers and magazines all over the world and in Ponting’s book on the expedition, The Great White South. The images, spanning Ponting’s time with the expedition from late 1910 to early 1912 include several groups of images of historic interest: images (including two showing Scott (from December 1910, when the Terra Nova was trapped in ice before reaching Antarctica); photographs showing Edward Wilson recording the return of the sun in August 1911 and others of scientists working; photographs of the members of the ‘Southern Party’ immediately before their departure, including Edward Wilson, Henry ‘Birdie’ Bowers and Edgar Evans of the final South Pole party; a large number of pictures of Adelie penguins, including the ‘Glad Eye’ penguin (which Ponting later used for advertising and as a mascot) and several of Ponting amongst the penguins; sledge dogs, of which Ponting’s friend Cecil Meares was in charge; a selection of scenery, wildlife and other images, including of ‘killer’ whales and Emperor penguins. (131) £6000-8000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

38


39


The photographs were taken between 1901 and 1906, while Ponting was based in America and travelling regularly to Japan and other countries in Asia. Many were published during his lifetime as stereoviews or in books (including his own Fuji-San, Japanese Studies, and In Lotus Land, Japan) and magazines in Britain, America and Europe. Large-scale prints of many of the photographs in the album were also exhibited in London before Ponting left for Antarctica in 1910. Notable amongst the photogrpahs of craftsmen are several of renowned Cloisonné maker Y Namikawa of Kyoto and his studio workers. Provenance: Acquired from or following an exhibition and sale of Ponting’s effects held in his London flat after his death in February 1935, and now being sold by successors of the original acquirer. (1) £4000-6000

117 Ponting (Herbert, 1870-1935). An album of photographs of Japan, compiled by Herbert Ponting, c. 1906-10, a total of approximately 200 gelatin silver prints, printed on thin photographic paper and neatly pasted in the album on rectos and versos throughout, numbers in the range 300 to 755 inscribed besides most of the photos (relating to an overall numbering system used by Ponting from 1907 or earlier), subjects include Mount Fuji and other Japanese volcanoes, palaces, temples, natural beauty spots, and people, including craftsmen at work and in less formal, unnumbered photographs, friends and acquaintances Ponting met on his travels, images 17.5 x 12.5 cm or smaller, contemporary cloth, rubbed, oblong folio Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

40


118* Russia and Ukraine. Photographic archive compiled by a British dental surgeon serving at the Anglo-Russian Hospital and on the Eastern Front, 1916, Oblong Russian-purchase brown morocco album (24 x 16 cm), containing 219 gelatin silver prints, mostly original snapshots measuring between 4 x 6 cm and 6 x 8 cm, all tipped rectos and versos to stiff card leaves, including street scenes and views in Petrograd, Moscow and Kiev, staff and inspections at the Anglo-Russian Hospital (one captioned ‘Tzar at review’), operations at Rojitche, Lutsk and ‘Icherookov’ (probably Cherykaw in modern Belarus), these including numerous images of artillery pieces, trenches, troop inspections, bomb damage and similar, inked manuscript captions throughout, large group photograph with mid-size photographed tipped verso loosely inserted, together with: string-bound elephant folio scrapbook containing approximately 30 further original photographs (most of them 14.5 x 9 cm) depicting the Anglo-Russian Hospital, Lutsk and Dubno, and including a few possible portraits of the compiler, in addition to approximately 100 photographic postcards sent by him from various locations including Russia, some minor wear; wrappered souvenir exhbition catalogue titled The Anglo Russian Hospitals with the Russian Army, a Series of Twelve Views reproduced in Photogravure, inscribed ‘Presented to W. Harrison by Lady Muriel Paget, May 16, 1917’; 4 additional medium sizephotographs of ARH staff and visitors including the Tsarina, creased and frayed; and a collection of the compiler’s personal documents including passport

British dental surgeon Walter Harold Harrison is recored as graduating LDS from Guy’s Hospital in 1910. He travelled to Russia to work at the AngloRussian Hospital, in Petrograd, founded in 1915 by Lady Muriel Paget and Lady Sybil Grey. In 1916 he appears to have accompanied the Russian advance through Volhynia. The following year he published an article in the British Dental Journal entitled A Dental Surgeon in Russia. (1 carton) £2500-3500

41


119* Ryan (Seamus A., born 1964). Sliced nautilus shell, c.2000, vintage gelatin silver print, 40 x 30 cm, framed and glazed

121 St. Peter’s, Clapham. A scrap album of photographs apparently compiled by John Palmer, vicar of St. Peter’s, Clapham, mid-1930s, with his name at front and first page headed ‘Southwark, 1933-1937’, photographs of varying sizes pasted on 50 leaves and back-to-back, with additional newscuttings, and scattered epehmera, photographs showing the vicar in a range of activities, including visits, clubs, camps, schools, etc., contemporary half roan, slight wear to extremities, folio

(1)

(1)

£100-150

£150-200

120* Shaw (Sam, 1912-1999). Marilyn Monroe and Arthur Miller at Roxbury, Connecticut, 1957, vintage gelatin silver print, 1957, showing Miller and Monroe seated together on grass at the foot of a tree, a little creasing to black border margins and some adhesion remains to top and bottom white border, wetstamp of ‘photoreporters, inc.’ to verso with pencil misattribution to the photographer Milton H. Greene, 19 x 28.5cm (1)

£700-1000

122* Studio Bourdier. A group of 22 large format gelatin silver prints by Studio Bourdier, Royan, France, c.1950s, views and pictorial studies, most with credit stamp in the negative, 59 x 49 cm and five smaller (22)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

42

£200-300


124 World War I. [Cover title:] H.M.S. Indomitable, Mediterranean Photographic Album, Diary of Events and Important Places visited during the Commission 1914-1916, 192 gelatin silver prints (10 x 15 cm), window-mounted rectos and versos to thick card leaves, printed captions mounted below, images numbered in the captions 2-193 (no apparent loss), prospectus loosely inserted, foxing to captions, a few prints lifting at corners, original black cloth, title and crew member’s name gilt to front board, front joint split, extremities worn Souvenir album issued to the crew of Invincible-class battlecruiser HMS Indomitable, including photographs of Italy, modern-day Lebanon (Tripoli and Beirut), Malta, and Egypt. (1) £200-300

123* Tugboats. An unusual collection of approximately 300 Thames tug and light boats, c.1930s/1950s, small-format gelatin silver prints, approximately half corner-mounted in an album and half loose, the majority 6 x 8cm and slightly smaller, many captions to versos (approx. 300)

125 World War I - France. An album of 260 gelatin silver print photographs of Northern France, c.1920, photographed by a British person taking in the battlefields and sights, with evidence of ruins and destruction, abandoned tanks, graves, etc., images 8 x 10 cm, neat small ink captions to lower thin margins, places identified include Monchy, Cambrai, Ancre, Arras, Armentieres, etc., mounted four-to-a-page, and back-to-back on stiff card mounts throughout, an additional 30 miliary photographs pasted in at rear, a few leaves detached, contemporary cloth, soiling and some wear, oblong folio

£200-300

(1)

Lot 124

43

£200-300


MAGNUM PHOTOS: THE EARLY YEARS

126* Bischof (Werner, 1916-1954). The Children of Europe, 1950, a group of 11 gelatin silver prints including two vintage prints, subjects mostly children, two with brown streaks, a few marginal splits, some damp wrinkling, press captions, markings and wetstamps to versos, mostly 21 x 29cm and similar (11)

£300-500

128* Capa (Robert, 1913-1954). Filming ‘Bitter Rice’ by Roberto Rossellini, 1948, printed later, a group of five gelatin silver prints, three with brown streaks, press captions, markings and wetstamps of Robert Capa/Magnum Photos to versos, 25 x 20cm and slightly smaller (5)

127* Bischof (Werner, 1916-1954). Shintoism - Japan’s Religious Cult, 1952, a group of five gelatin silver prints, press captions, markings and wetstamps to versos, 25 x 18.5cm and slightly smaller (5)

129* Capa (Robert, 1913-1954). French fashion houses holding a Spring fashion show, 1948, printed later five photographs with brown streaks, one split at margin, press captions, markings and wetstamps to versos including six with Capa/Magnum Photos credit stamps, now partially obscured, 25 x 20cm and smaller

£200-300

(9)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£300-500

44

£600-800


130* Capa (Robert, 1913-1954). Inside Hungary, 1949, printed later, a group of six gelatin silver prints, the largest of daily trotting races, 21 x 28cm, the others showing scenes of destruction and rebuilding, all with press captions, markings and wetstamps to versos, all but two with Capa/Magnum Photos credit stamp, 24.5 x 18cm and slightly smaller (6)

132* Capa (Robert, 1913-1954). Scenes from Georgia and the Ukraine, 1948, a group of 11 gelatin silver prints including four vintage prints (light brown streaks to images), the remaining seven later printings, subjects including a football match between Georgia and Ukraine, Stalin’s birthplace, centre of Kiev, etc., press captions, markings and wetstamps to versos, including Robert Capa/Magnum Photos credit stamps, approximately 20 x 24.5cm and similar sizes, together with a group of 11 gelatin silver prints by an unidentified Magnum photographer, 1947, the subjects relating to the cultivation of wheat in the Ukraine, four vintage prints with brown streaks, the remaining seven later printings, all with press captions, markings and wetstamps to versos, 20 x 25cm

£600-800

(22)

131* Capa (Robert, 1913-1954). Pablo Picasso and Francoise teaching their baby Claude to swim, c.1950, printed later, gelatin silver print, light brown streak in the water, press caption, markings and stamps to verso including Robert Capa/Magnum Photos credit stamp (obscured), 19.5 x 22cm, together with three gelatin silver press prints by William Vandivert of Magnum, 1948, two from ‘Emigrant Ship’ series, one with a brown streak, plus one of the interior of the press room at the White House, press captions, markings and stamps to versos, the first two with Vandivert/Magnum Photos credit stamps, various sizes (4)

£300-500

133* Capa (Robert, 1913-1954). Poland Today, 1949, printed later, a group of 12 gelatin silver prints, various scenes in Warsaw and elsewhere, press captions, markings and wetstamps to versos including Robert Capa - Magnum Photos credit stamps, some occasional small corner creases, 25.5 x 20cm and slightly smaller sizes

£200-300

(12)

45

£400-600


134* Capa (Robert, 1913-1954). Poland Today, 1949, a group of three vintage gelatin silver prints on cardstock, the first showing men shovelling coke in a steel factory, corners creased, the second of a welder, a little marginal creasing, the third of the exterior of Auschwitz, some heavy creasing, all with press caption, markings and wetstamps to versos including partially visible Robert Capa Magnum Photos credit stamps and stamps indicating these were used for Illustrated Magazine, 20 August 1949, 32 x 21.5cm and second photo 21 x 30cm (3)

136* Capa (Robert, 1913-1954). Socialist Stronghold - Hemsworth in the Division of Yorkshire, c. 1951, vintage gelatin silver print, various label stamps and markings to verso including press captions and Illustrated Magazine date usage stamp 27 October 1951, small crease to lower left corner and long horizontal crease near lower margin, 19.5 x 25cm (1)

£400-600

135* Capa (Robert, 1913-1954). Israel’s First Year, 1949, vintage gelatin silver print, showing two women preparing food, corner creases lower left and upper right, various press captions, stamps and markings to verso including photographer’s Magnum credit stamp and Illustrated Magazine stamp dated 27 August 1949, 25 x 19cm (1)

137* Cartier-Bresson (Henri, 1908-2004). Kashmir: War Without a Front, 1948, vintage gelatin silver print of a command post, light brown spot to centre of image, together with a later printing from the same series showing a Hindustani lieutenant, plus a third later printing gelatin silver print by Cartier-Bresson of deputy prime minister of Sardar Patel addressing the Jammu population, 1948, press captions, markings and wetstamps to versos, the first with a used Illustrated Magazine date stamp 6 November 1948, the last with Cartier-Bresson/Magnum Photos credit stamp 24 x 16.5cm or the reverse

£200-300

(3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£200-300

46

£300-400


138* Cartier-Bresson (Henri, 1908-2004). Jammu, City of Refugees, 1949, printed later, a group of four gelatin silver prints, showing a Muslim refugee camp, orphan refugees wrapped in blankets, and two scenes of refugees on the museum terrace, all with press captions, markings and wetstamps to versos including Cartier-Bresson/Magnum Photos credit stamps, 17 x 24.5cm (4)

£400-600

Lot 140

139* Cartier-Bresson (Henri, 1908-2004). Jammu, City of Refugees, 1949, a group of three vintage gelatin silver prints, one showing refugees at a noticeboard, one of a large crowd of refugees in a compound awaiting news and one of a refugee camp under the arcades of a museum, all with press captions, markings and wetstamps to versos, including Cartier-Bresson/Magnum Photos credit stamps and used Illustrated Magazine, 23 April 1949, last photo with slight crease to lower left corner, all 17 x 24.5cm (3)

£300-500

140* Cartier-Bresson (Henri, 1908-2004). Jammu, City of Refugees, 1949, five gelatin silver prints including one vintage print of militia women in a Jammu street in traditional dress, the other five later printings from the same series showing evacuation of refugees, distribution of food and refugees in the court of Ragunath Temple, all with press captions, markings and wetstamps to versos, including Cartier-Bresson/Magnum Photos credit stamps and first photo used Illustrated Magazine 23 April 1949, all 24.5 x 17cm (5)

141* Cartier-Bresson (Henri, 1908-2004). Jammu, City of Refugees, 1949, a group of six gelatin silver prints including two vintage prints, the first of a young social worker washing refugee children, the second (with some chemical surface damage) showing evacuation of the Punjab refugees, plus four later printings from the same series, showing women, children and babies, all with press captions, markings and stamps to versos, including CartierBresson/Magnum Photos credit stamps and first two used Illustrated Magazine 23 April 1949, all 24.5 x 17cm

£500-800

(6)

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£600-800


143* Cartier-Bresson (Henri, 1908-2004). In Search of London, 1951, vintage gelatin silver print of travellers on a tube train at Piccadilly underground station, 24 x 16cm, together with another vintage gelatin silver print by Cartier-Bresson of theatregoers at the first night of the ‘Waters of the Moon’ at the Haymarket Theatre, 1951, 17 x 24cm, both with press captions, markings and wetstamps to versos, the first used Illustrated Magazine, 26 May 1951 (2)

144* Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, a group of five gelatin silver prints including one vintage of prefab terraces on a San Francisco hillside, the others later printings including scenes on Grand Street, Brooklyn, Harlem (slightly wrinkled, marginal split and corner crease), a Greyhound bus on the Nevada highway and a street scene in Alberquerque, New Mexico, all with press captions, markings and wetstamps to versos, the first used in Illustrated Magazine on 30 October 1948, all 16 x 24.5cm

142* Cartier-Bresson (Henri, 1908-2004). A one-legged boy on crutches in Berlin, 1951, vintage gelatin silver print, short split to upper margin, 29 x 19cm, together with two further photographs by Cartier-Bresson from the sale Berlin series, one of an injured youth using a pram for mobility, the other an outdoor restaurant scene, both 16 x 23.5cm, all with press captions, markings and wetstamps to versos, the first used in Illustrated Magazine, 8 September 1951 (3)

£200-300

£300-500

(5)

£500-800

145* Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, printed later, a group of four gelatin silver prints, one of a lady gambler in Reno, a small crowd on Lower East Side, New York City, two men in Utah and two older ladies talking on the street in Dubuque, Iowa, all with press captions, markings and stamps to versos, 16 x 24.5cm (4)

Lot 143

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

48

£400-600


146* Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, vintage gelatin silver print of a newspaper vendor on a sidewalk in New York, plus three later printings of picnickers on Belle Isle, Detroit, two men on a street in Knoxville, Tennessee and two women walking in Boston, all with press captions, markings and wetstamps to verso, the first used in Illustrated Magazine, 30 October 1948, a couple of minor corner creases, all 24.5 x 16cm (4)

148* Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, printed later, a group of four gelatin silver prints, including groups of people in New England and Manchester Village, Vermont, plus a man relaxing on his tractor in Pittsburgh and a man on his porch in New England, press captions, markings and wetstamps to versos, 24.5 x 16cm (4)

£400-600

£400-600

147* Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, vintage gelatin silver print of Ohio city dwellers escaping from the smoke and noise of Cleveland for a picnic, together with three later printings, two of bathers on Coney Island, New York City, and one of a picnic by the sea at Provincetown, all with press captions, markings and wetstamps to versos, first used for Illustrated Magazine, 30 October 1948, all 24.5 x 16cm (4)

£400-600

149* Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, printed later, a group of 4 gelatin silver prints including a Jewish vendor, New York City, a girl in a doorway in Pittsburgh, Easter parade, Fifth Avenue, New York and two dapper young black boys on a porch, press caption, markings and wetstamps to versos, 24.5 x 16cm and one the reverse (4)

49

£400-600


150* Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, a pair of vintage gelatin silver prints, both with press captions, markings and wetstamps to versos indicating the images were used for Illustrated Magazine 30 October 1948, one with caption ‘Harlem Beau ogles belle decked in Sunday best’, the second of two Amish women on a busy street in Lancaster, Pennsylvania, both photographs with moderate horizontal crease and first photo with production mark-up lines, 24.5 x 16cm (2)

152* Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, printed later, a group of four gelatin silver prints, including views in New York City, Harlem, New England and Louisiana, press captions, markings and wetstamps to versos, a few light creases, 24.5 x 16cm (4)

£200-300

151* Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, printed later, a group of four gelatin silver prints, including scene on Lower East Side, Brooklyn, a lunch wagon, New York City, people at a sideshow and a beerhouse, press captions, markings and wetstamps to versos, three photographs with slight crease to lower left corner, 16 x 24.5cm (4)

153* Cartier-Bresson (Henri, 1908-2004). The American Scene, 1948, printed later, including people and street scenes in Toledo, Winnemucca, Nevada, Skid Row, Detroit, and Pittsburgh, all with press captions, markings and wetstamps to versos, a few minor corner creases, 24.5 x 16cm

£400-600

(4)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£400-600

50

£400-600


156* List (Herbert, 1903-1975). Shooting Film ‘Le Desire et l’Amour’ at Spanish Fishing Village, 1952, two vintage gelatin silver prints, one showing fisherman pulling an unseen boat out of the sea, the other showing villages queueing to get their payment, both with press captions, markings and stamps including credit stamp of Herbert List and Illustrated Magazine usage stamp for 12 April 1952, first photograph damp marked to verso, 21 x 29.5cm & 20 x 29.5cm

154* Freund (Gisela, 1908-2000). Oil workers in Mexico, c.1950, printed later, gelatin silver print, 19.5 x 24cm, together with nine other gelatin silver prints by Magnum photographers including Des Russell, Joe Pazen, Szasz & Cserna and Karl Gullers, various subjects including fashion interest, one with brown streak, press captions, markings and wetstamps to versos, 27.5 x 21cm and smaller (10)

(2)

£300-400

£200-300

155* Goldman (Paul, 1900-1986). Wandering Children of Israel, 1948, three vintage gelatin silver prints showing the transfer of 1,004 Arab refugees from Fureidis to Arab-held territory, press caption and credit stamps and markings to versos, including Illustrated Magazine usage date 27 November 1948, 17 x 23cm

157* List (Herbert, 1903-1975). The Spanish Way of Life, c. 1950, vintage gelatin silver print, showing Spanish peasants at the cattle market in Ronda, discussing their business with a drink, press caption, markings and stamps including Scheler copyright stamp to verso, 21 x 28cm

(3)

(1)

£150-200

51

£300-500


158* List (Herbert, 1903-1975). The Spanish Way of Life, c.1950, vintage gelatin silver print, showing a little girl asleep on the pavement of Granada, press caption, markings and stamps to verso including Scheler copyright stamp, 23 x 21cm (1)

160* Perutz (Carl, born 1921). A group of Magnum press print photographs, c.1949/1950, gelatin silver prints, mostly printed later but including four vintage prints, various subjects, including Josephine Baker at the Club des Champs Elysees, London bottle parties, Italian fashion, slum kids in Birkenhead, Paris social life, etc., press captions, markings and wetstamps to verso, a few scattered light creases and minor marks, two photos damp wrinkled, 26 x 20cm and smaller but similar sizes

£200-300

(15)

159* McCombe (Leonard, born 1923). Diego Rivera, 1949, vintage gelatin silver print of the artist holding paintbrushes, small crease to top left corner and a little bruising to top right corner, various labels, markings and stamps to verso, including ‘Life Photo by Leonard McCombe’ and ‘Life Print by Al Asnis’, 29.5 x 21cm (1)

161* Rodger (George, 1908-1995). South Africa, 1948, printed later, a group of seven gelatin silver prints, including four of General Jan Smuts with his granddaughter Marie and other family members, one of the wedding of Edward Mutesa-Kabaka (king of Kampala), all with press caption and George Rodger Magnum stamps to versos, 24.5 x 19cm and similar, the other two of workers in a diamond mine and views of a crowd as Malan arrives at Pretoria, press caption and markings to versos, 19 x 21.5cm and similar

£300-500

(7)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£300-500

52

£150-200


162* Roth (Sanford, 1906-1962). The Magic of Stravinsky, 1952, vintage gelatin silver print, right-hand corners bumped, press caption, marks and stamps to verso including Magnum Photo stamp with photographer completed in manuscript, plus Illustrated Magazine stamp dated 7 June 1952, 25.5 x 20cm (1)

164* Seymour (David, ‘Chim’, 1911-1956). Orphans of the Greek War, 1948, vintage gelatin silver print of an elderly woman with children in front of a crowd, press captions, markings and wetstamps to verso, together with four further Magnum photos by Seymour of Germany, 1949, later prints, press captions, markings and stamps to versos, various sizes

£200-300

(5)

163* Seymour (David, ‘Chim’, 1911-1956). Ingrid Bergman with her twin daughters, 1952, three vintage gelatin silver prints, one of Bergman carrying her two baby twins in separate carriers, yellow production markings, another of her cradling both twins, plus one of her kneeling beside her small son on his bicycle with a dove on the handlebars, yellow line production marking, all with press captions, markings and wetstamps to versos, 24.5 x 20.5cm and similar (3)

£200-300

165* Seymour (David, ‘Chim’, 1911-1956). Filming ‘St Francis, God’s Jester’ by Roberto Rossellini, 1950, a group of eight gelatin silver prints including three vintage prints, a few creases and occasional marks, printed captions, markings and wetstamps including David Seymour/Magnum Photos credit stamps to versos, 25 x 20cm and similar sizes, together with three further gelatin silver print photographs by Seymour from the filming of ‘The Glass Mountain’ in the Dolomites, 1948, later prints, press captions, markings and wetstamps to versos, 22 x 19cm and similar

£150-200

(11)

53

£300-500


167* Seymour (David, ‘Chim’, 1911-1956). Europe’s Children, 1949, a group of 10 gelatin silver prints including two vintage prints, all of groups of children, mostly among Cassino ruins, press captions, markings and wetstamps including Magnum Photos credit stamps, a few corner creases, 24 x 19cm and similar sizes (10)

£300-500

166* Seymour (David, ‘Chim’, 1911-1956). Children of Europe, 1949, printed later, a group of eight gelatin silver prints, mostly groups of children in Italy, press captions, markings and wetstamps including Magnum Photos credit stamps to versos, 17.5 x 24cm and similar sizes (8)

£200-300

168* Seymour (David, ‘Chim’, 1911-1956). Europe’s Children, 1949, printed later, a group of 10 gelatin silver prints of children in Italy (and one in Poland), all with printed captions, markings and wetstamps, all but one with Magnum Photos credit stamps, 22.5 x 19cm and similar (10)

Lot 167

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

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£500-800


COLIN OSMAN (1926-2001) & CREATIVE CAMERA

169* Adams (Ansel Easton, 1902-1984). A group of six gelatin silver print press prints, printed c.late 70s and early 1980s, all but one with printed title labels and institutional stamps to versos, 24 x 18 cm and slightly smaller (6)

171* Bailey (David, born 1938). Marsha Hunt, c.1969, printed later, gelatin silver print, photographer’s name in red felt tip in block capitals to verso, 17 x 16.5cm (1)

170* Atiie (David, active c.1970 ). A group of four vintage gelatin silver prints, c.1970, photographer’s wet stamp to versos, 25 x 32.5 cm and two smaller, together with a typed letter signed from the photographer to Mr Osman at Creative Camera concerning a planned article (4)

£100-150

£200-300

172* Callahan (Harry, 1912-1999). A group of five photographs, printed 1970s/early 1980s, two identified to verso as Michigan, 1948, and Cuzeo, Peru, 1974, 24 x 19cm and smaller (5)

£200-300

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£200-300


173* Capa (Robert, 1913-1954). Paris, August 26, 1944, printed 1950s, gelatin silver print, 15 x 23cm, ICP Exhibition label for a Robert Capa retrospective, 1931-1954, to verso (1)

£150-200

Lot 175

174* Capa (Cornell, 1918-2008). Stainless steel abstract structure by Yaakov Agam, 1973, vintage gelatin silver print test photograph, 22 x 32 cm, press caption and photographer’s credit wet stamp to verso, together with 13 other assorted press print photographers, including two large photographs of Marilyn Monroe by unidentified photographers, one with Arthur Miller, and one drinking coffee with another man, 28 x 35 cm, plus some female nudes (14)

£150-200

175* Chinese & Japanese Photographers. A group of 17 vintage and later printing gelatin silver print photographs by various photographers, c.1970s & 1980s, mostly of women including some nudes, photographers include Ginnosuke Yoshino, Jun Yoshido (some nudes), and Isao Hirachi, the first two photographers with wet stamps to verso, 18 x 27 cm and larger sizes (17)

£200-300

176* Colin Osman Archive. A large archive of photographs, negatives and correspondence relating to Osman and Creative Camera, c.1970s/1990, plus photocopies, cuttings, and related ephemera and two cartons of Creative Camera (8 cartons)

177* Erwitt (Elliott, born 1928). Portrait of David ‘Chim’ Seymour, c.1950s, printed later, gelatin silver print press photograph, press captions and wetstamps to verso including Elliott Erwitt/Magnum Photos copyright stamp, 24 x 16cm

£400-600

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

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£200-300


178* Gidal (Tim, 1909-1996). The Lamp, Berlin, 1929; Poland, 1932; London, 1939; printed later, three gelatin silver prints printed c.1977, all signed and titled to lower margin, first and third photographs also signed to versos, second and third photographs with wider margins, all with signed inscriptions in the margins signed ‘Tim’, the first two for Grace, the third with a longer and messy inscription for Colin to lower and right margins, images 24 x 17cm and the reverse (3)

180* Hartmann (Erich, 1922-1999). Werner Bischof (1916-1954), c.1950, printed 1974, gelatin silver print, printed biographical label and exhibition copyright stamp to verso, 24 x 19cm

£150-200

(1)

£100-150

179* Gowin (Emmet, born 1941). Sheep fleece, Yorkshire, 1972, & Button cards, Newtown, Pennsylvania, 1974, vintage gelatin silver prints, identified to versos, 19 x 23.5cm (2)

£100-150

181* Haskins (Sam, 1926-2009). A group of ten vintage gelatin silver prints, c.1984, seven with photographer’s labels to versos and three with copyright stamps, 23.5 x 19 cm, together with accompanying related letter concerning their intended use for a 1984 calendar (10)

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£150-200


184* Lucas (Cornel, 1920-2012). Three press print photographs, c.1970s, vintage gelatin silver prints, portraits of Suzy Travers, Rachael Welch and Joan Collins, all with Cornel Lucas copyright and credit stamps to versos, the first 24 x 19cm, the second and third photographs 20 x 15.5cm

182* Juneja (Mohan, 20th century). A group of 36 vintage gelatin silver prints, c.1980s, the majority of series of studies of the same female nude, mostly approximately 25 x 25 cm, photographer’s pencil details and address in Hamilton, Ontario, Canada to versos (36)

£200-300

(3)

183* Killip (Chris, born 1946). Miss Redpath, Regaby, c.1985, vintage gelatin silver print, exhibition label to verso, image 14.5 x 11cm (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£150-200

185* McCullin (Don, born 1935). Biafra, 1968, printed later, gelatin silver print, pencil production mark ups to verso, 20 x 14cm (1)

£100-150

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£100-150


186* Miscellaneous photography, 19th & 20th century, a mixture of albumen print and gelatin silver prints, including cabinet card portraits, people, views and genre subjects, various sizes (a carton)

£150-200

189* Russia. A group of six vintage gelatin silver print photographs by Nikolai Orlov (20th century), c.1980s, various scenes, 14 x 21 cm and similar sizes, thick card mounts, signed by the photographer to verso of each (6)

£150-200

187* Nash (Paul, 1889-1946). Doorway, Spain, 1934, printed later, gelatin silver print, title and mark ups to verso, 19 x 11cm (1)

£100-150

188* Racing Pigeons. A group of approximately 30 gelatin silver prints of racing pigeons interest, c.1920s and later, including press prints, some with captions and markings to versos, various sizes, together with an album of approximately 80 pages of newscuttings of pigeon fancier interest, c.1898-1921, contemporary cloth, worn, plus Volume 65 of The Racing Pigeon (January-June 1937), contemporary half calf, worn, both 4to

190* Sander (August, 1876-1964). SS Soldier, c.1940, printed c.1970s, gelatin silver print, ‘August Sander Lichtbildner’ stamped to verso, 17 x 11cm (1)

Colin Osman began his career by taking photographs for Racing Pigeon, a weekly founded in 1898 by his grandfather. (approx. 30) £100-200

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£100-150


193* Saudek (Jan, born 1935). A group of five vintage gelatin silver prints, c.1980s, including two contact prints, (both inscribed in pencil by the photographer ‘Not for sale’ and one signed Jan), giving image numbers 116 & 186, 11 x 11.5cm, two others with numbers 128 & 140 to versos, 18 x 13cm, the final print 11 x 8cm, with a brown manila envelope inscribed with the photographer’s name in his hand in block capitals (6)

£400-600

191* Saudek (Jan, born 1935). David boy 1973, together with David, the same boy, 1983, gelatin silver print contact prints, printed c.1983, both signed and titled lower right and right margins, 20 x 15cm, together with an accompanying letter from Saudek, written in ink and signed Jan with a pen and pencil and colour felt tip sketch at head, one page, folio, plus the original postmarked envelope with hand-painted addressee design by Saudek (4)

£400-600

194* Sudek (Josef, 1896-1976). Panoramic Landscape of Prague, Spring, 1968, printed later, gelatin silver print, image 6 x 14cm, print size 18 x 24cm, verso blank (1)

192* Saudek (Jan, born 1935). Two vintage gelatin silver prints, 1980s, the first titled ‘The Kiss Off #218’ to left margin, 14 x 20cm, the second titled ‘The 1st Kiss to a Little Brother, 1983’ in the photographer’s hand to verso, 9 x 13cm, together with an accompanying letter from Saudek to Colin, written in neat pencil and signed Hans, pen and ink sketch at head (‘Portrait of my Lost Girl #217’), one page, folio (3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£200-300

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£400-600


197* Various Photographers. A collection of approximately 120 gelatin silver print photographs, c.1970s, including press print photographs, mostly portraits and people including a series of female nudes, largely by unidentified photographers, mostly 10 x 8 and similar sizes, but also some larger, the largest a photograph of film director Ken Russell on the set of ‘The Devils’ by David Hurn, 30 x 38 cm, horizontal cracking to upper margin (approx. 120)

£200-300

195* Various Photographers. A group of approximately 45 vintage and later printing gelatin silver print press photographs, c.1970s/1980s, photographers including Saline Renger, David Chadwick, Sebastian Knight, Greg Leach, Michael O’Cleary, Graham Keene, Shaun Smith, Pat Benetar, Peter Kovach, etc., various sizes, many with identification details and wet stamp to versos (approx. 45)

£200-300

198* Weston (Edward, 1886-1958). A group of seven gelatin silver prints, printed mid-1970s, exhibition press print labels to versos of five identifying titles as Sunny Corner in an Attic, 1921, Armco Steel, Ohio, 1922, Ralph Pearson, 1923, Eroded Rock, Point Lobos, 1930, Charis, Lake Ediza, 1937 and Hot Coffee, Mojave Desert, 1937, all with museum stamps to versos, 19 x 23 cm and one the reverse (7)

196* Various Photographers. A group of approximately 60 vintage and later printing gelatin silver prints, c.1970s/1980s, photographers include James Alinder, Charles Gatewood (nudes), Erasmus Schroter, Kurt Hutton, Bruce Weber, etc., various sizes, some mounted, many with press captions and wet stamps to versos (approx. 60)

£200-300

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£200-300


PIONEER PHOTOGRAPHERS & PICTORIALISTS

199* Beard (Richard, 1801-1885). A hand-coloured salted paper print photograph of an elderly woman, 31 King William Street, London Bridge, 1850s, image 145 x 110mm, oval gilt-edged aperture in original Beard mount with blind stamp at foot and printed back board including address, royal arms and manuscript negative number 1173, back board lacking part of left edge, overall 300 x 265mm (1)

£250-350

201* Herschel (John Frederick William, 1792-1871). ‘The Forty-Foot Telescope at Slough’, photographic print made in 1890 [by John Werge] from John Herschel’s glass negative of [9 September] 1839, circular silver print (diameter 92mm), some small areas of abrasions or insect damage to paper surface, mounted on paper support incorporating printed title and descriptive letterpress and dated August 1890, with signatures of Herschel’s two sons, mounted on card, framed in period wooden frame, glazed, contemporary Ryman & Co. stationery label (split) and fragment of related (or original) printed paper descriptive notice to frame verso, overall 40 x 49cm

200* Bisson (Louis-Auguste & Auguste-Rosalie). South Transept with Portal of the Golden Virgin, Amiens Cathedral, c.1855, albumen print on original mount, Bisson Frere black ink stamp lower right, number ‘12’ and photographers’ oval blind stamp to lower margin, 454 x 339mm

This is one of only 25 prints made in 1890 from the original negative, the earliest surviving photograph on glass. This was the only image recorded of the 40-foot telescope in Slough, Berkshire, assembled in 1787 by William Herschel (1738-1822), and dismantled in 1839. The massive reflecting telescope used a metal mirror four feet in diameter and weighed over a ton, and became a much-visited wonder of the age. By the time Herschel’s son John took this photograph, the telescope structure had become unsafe through neglect. The photograph is mounted in a frame using the rungs from John Herschel’s telescope used at Slough and Cape Town, South Africa. The negative, now faded almost beyond recognition, is preserved in the collections of the Science Museum, London.

Visible at the foot of the image and lower down the pillar from the Golden Virgin is an advertising broadside for a book titled ‘Description de la Chapelle Sainte Theudosie, par M. Ad. [Adolphe Dutille]’, published in 1854. (1) £200-300

Provenance: From the family of Sir John Herschel, by direct descent through his daughter Amelia and her husband Sir Thomas Wade. See also following lot. (1) £1000-1500

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

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202* Cameron (Julia Margaret, 1815-1879). Sir John Frederick William Herschel, April 1867, albumen print on original mount, signed, dated and annotated 'From life taken at his own residence Collingwood' and identified by her in a larger hand beneath, 'Sir J.F.W. Herschel (Bart)', gilt-ruled border, image 303 x 242mm, mount 359 x 298mm An excellent print of one of Julia Margaret Cameron's most iconic portraits. Sir John Herschel, son of the astronomer Sir William Herschel, was a polymath who took a very active interest in photography from its earliest days. A friend of Fox Talbot, and an early correspondent of Mrs Cameron, he invented the photographic use of sensitised paper (1839), introduced hyposulphate of soda (hypo) as a fixing agent, and coined the terms 'photograph', 'negative', 'positive' and 'snapshot'. This portrait of him was one of a series of four taken at his home Collingwood at Hawkhurst, Kent. Provenance: From the family of Sir John Herschel, by direct descent through his daughter Amelia and her husband Sir Thomas Wade. See also preceding lot. Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003), no. 674. (1)

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ÂŁ30000-50000


Lot 204

Lot 203

203* Cameron (Julia Margaret, 1815-1879). Love, 1864, albumen print, arched top, long horizontal closed tear from left margin to right margin crossing through both children's heads, 250 x 200mm, remounted on archival board with window mount

204* Cameron (Julia Margaret, 1815-1879). May Prinsep, 1868-69, albumen print photograph, trimmed to image with rounded corners, some damp mottling to lower area, 150 x 75mm, now separated from old album paper mount with sitter’s name identification below, three further albumen prints to album leaf verso, carte-de-visite portraits of Evelyn and Julian, plus a house identified as Hopton with adults and children seated in front

Photographed at Dimbola, the study shows Mary Hillier with the semi-nude children Elizabeth ('Lizzie') and Alice Keown on either side of her. Provenance: This print - torn at some stage and remounted on archival board in the 1970s - comes from the collection of Major-General Charles Wake Norman (1891-1974), and was acquired by the art and photography collector Erich Sommer (died 2004) who gifted it to the present owner, John Hannavy.

Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003), no. 415. (4) £300-400

Major General Charles Wake Norman's grandfather was Charles Norman, Julia Margaret Cameron's son-in-law, married to her daughter Julia Hay Cameron, and the photographs in General Norman's collection were directly passed down through the family. It was Julia and Charles Norman who gave Julia Margaret Cameron her first camera. Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003), no. 35. (1) £1000-1500

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

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205* Cameron (Julia Margaret, 1815-1879). Mrs Herbert Duckworth, nee Julia Jackson, c.1865, albumen print, 233 x 189 mm, original mount (spotting and soiling), pencil identification to verso in an unidentified hand Cox & Ford, Julia Margaret Cameron: The Complete Photographs (2003), no. 298. (1) £300-500

Lot 205

206* Cameron (Julia Margaret, 1815-1879). ‘The Dirty Monk’, Alfred Lord Tennyson, May 1865, half-length albumen print profile, arched top, some speckling and spots, a little scratching and loss to lower left corner, 227 x 188mm, on original blue-grey mount within gilt border and with facsimile inscription at foot, ‘I prefer the Dirty Monk to the others of me, A. Tennyson, except one by Mayall’, some spotting to mount, laid down on old card Originally taken as part of a series to illustrate Tennyson’s ‘Idylls of the King’, the portrait only later appeared as the frontispiece in Cameron’s book of Alfred Tennyson’s Idylls of the King and Other Poems Illustrated by Julia Margaret Cameron. Cox & Ford, Julia Margaret Cameron: The Complete Photographs, (2003), no. 796. (1) £300-500

Lot 206

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Lot 207 207* Carroll (Lewis, 1832-1898 ). Twyford School Eleven, Summer Term, 1859, albumen print, two caps with evidence of light blue tint, 124 x 165mm, mounted on paper within blue rule border, titled and dated in pencil in an unidentified hand beneath, modern aperture mount

208* Carroll (Lewis, 1832-1898 ). Xie Kitchin as ‘Dane’, Oxford, 14th May 1873, albumen print photograph mounted as a cdv, numbered by Carroll in purple ink to recto 2132, 90 x 60mm on larger cdv format mount Taylor, Rodger and Wakeling, Edward, ‘Lewis Carroll Photographer, the Princeton University Library albums’, 2002. Recorded in Carroll’s negative listing as compiled in Taylor and Wakeling. However, this is a variant format from Carroll negative 2132 which has been close cropped from what was a full length study of Xie.

Provenance: Dr David Lansley Collection; Wyndham-Mallet Collection, Somerset, England; Private Collection, Somerset, England; Private Collection, France. Edward Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonné (2015), [IN-0429]. (1) £1000-1500

Edward Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonné (2015), IN-2132, see nos. 13 & 20. (1) £500-800

209* Carroll (Lewis, 1832-1898 ). Hugh Bridges Kitchin, Oxford, c.1875, albumen print photograph, mounted on card in carte-devisite format, image 98 x 61mm on slightly larger mount See Edward Wakeling, The Photographs of Lewis Carroll: A Catalogue Raisonné (2015), IN-2334 (cabinet card). (1) £300-500

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

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Lot 208

Lot 209

210* Delessert (Francois Benjamin Marie, 1817-1868). A group of four salt prints of wood engravings of Marc Antoine Raimondi, 1854, three large prints, approximately 265 x 415 mm and similar, and one smaller approximately 175 x 145 mm, original mounts, two of the larger ones and the smaller one with printed details to mounts (Le Massacre des Innocence, Le Jugment de Paris and La Poesie)

211* Diamond (Hugh Welch, 1809-1886). Church of St Thomas, Winchelsea, 1850s, albumenised salt print, 154 x 200mm, inscribed in a near-contemporary hand to mount and dated 18 August 1854, together with a fine salted paper print study by Miss Hosmer of a classical female head, 172 x 115mm, large contemporary mount with inscription to front and rear, plus an albumen print of Tintern Abbey by Roger Fenton, printed and published by Francis Frith, 165 x 208mm, original mount with printed caption and imprint details to lower margin

This was one of the first signifcant uses of photography for art history, the prints being replicated at the size of the originals. Truthful Lens 46. (4) ÂŁ200-300

(3)

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ÂŁ150-200


Lot 212

Lot 214

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

Lot 215

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Lot 213 212* Fenton (Roger, 1819-1869). Roslin Chapel, south side, Roslin, Scotland, 1856, salted paper print on original mount, signed in ink ‘R Fenton’ and ‘H.41’ on the image lower right, neatly titled in pencil on lower mount ‘Roslin Chapel, south side’ and numbered ‘H No 41’, 347 x 428mm

213* Fenton (Roger, 1819-1869). Lindisfarne Priory, Lindisfarne, 1856, salted paper print with arched top, three figures visible through the doorway, inscribed in the negative ‘H no. 9’, professionally laid down on acid-free card, 355 x 298mm (1)

Taken during Fenton’s 1856 tour of Scotland, this view of the south side of the Chapel follows on in sequence from the view of the South Porch, prints of which are in the MoMA collection [as a later (1864) albumen print] and in the V & A (also as a signed salted paper print and numbered ‘40’]. The tour ended at the newly completed Balmoral Castle where Fenton photographed the building and the Royal Princes. G. Baldwin, M. Daniel & S. Greenough, All the Mighty World, The Photographs of Roger Fenton, (2004). (1) £5000-7000

£4000-6000

214* Fenton (Roger, 1819-1869). Gloucester Cathedral, Gloucester, 1850s, albumen silver print photograph, arched top, original mount, pencil caption and printed photographer’s name to lower mount, 351 x 435mm (1)

£2500-3500

215* Fenton (Roger, 1819-1869). Middleham Castle, 1850s, salted paper print photograph, original mount, titled ‘Middleham Castle’ and numbered ‘E No 38’ in pencil to lower mount and titled in ink to verso, 169 x 216mm (1)

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£300-500


Lot 216

Lot 217

216 [Fenton, Roger, 1819-1869]. An album of later copies of photographs of Queen Victoria and the royal family by Roger Fenton, 27 gelatin silver print photographs mounted to stiff card leaves on rectos only, neat ink captions to mounts beneath, images mostly 15 x 11cm and similar with two copy letters to on behalf of the king, and a related gelatin silver print copy of a signed photograph of King Edward VII pasted at rear of album, length typed note of provenance pasted to front pastedown, dated June 1905, original quarter roan over pimpled cloth with gilt royal coat of arms to upper cover, upper joint split and a little wear to spine, oblong small folio (19 x 27cm)

Lot 219

218* Frith (Francis, 1822-1898). Pillars in Great Hall Karnac, together with The Colonade, Island of Philae, both 1857, albumen prints on original mounts with photographer’s printed name, date and title to mounts beneath, 15.5 x 22.5cm and slightly smaller, matted From the collection of John Hannavy. (2)

£200-300

219* Frith (Francis, 1822-1898). Cleopatra’s Temple at Erment, 1857, together with The Temple of Maharraka, Nubia, and sculptures from the outer wall, Dendera, both 1857, albumen prints, original mounts with printed photographer’s name, date and title captions on mounts beneath, 23 x 15cm and the reverse, all matted

As explained in the typed note of provenance the copies were produced by Vernon Kirk Armitage, Fenton’s brother-in-law, as a Coronation gift to King Edward VII. In addition to the copy gifted to the king, six copies were distributed to members of the Armitage and Fenton families, of which this is one. (1) £200-300

From the collection of John Hannavy. (3)

£200-300

217* Frith (Francis, 1822-1898). The Temple at Komumboo [and] The Temple at Philae, 1858/1859, a rare pair of uncut and unmounted stereoview albumen prints, 85 x 156mm and a fraction smaller, mounted as a pair in a modern mat From the collection of John Hannavy. (2)

£100-150

220* Grundy (William, 1806-1859). Woman smoking a hookah, England, 1850s, albumen print photograph, 203 x 170mm, contemporary mount

Lot 218

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

(1)

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£300-500


221* Hill (David Octavius, 1802-1870 & Adamson, Robert, 18211848). Portrait of Alexander Handyside Ritchie (1804-1870, sculptor), c.1845, calotype, pale grey paper mount with pencil inscriptions beneath and to verso and neat ink name identification to lower right corner, image size 209 x 159mm Colin Ford, An Early Victorian Album, (New York, 1976), p. 131; Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 101, ref. a. (1) £1500-2000

222* Hill (David Octavius, 1802-1870 & Adamson, Robert, 18211848). Portrait of David Octavius Hill, c.1845, calotype, pale grey paper mount with pencil inscription at foot and to verso, additionally identified ‘D.O. Hill, RSA’ to lower right corner of mount, image size 194 x 143mm Colin Ford, An Early Victorian Album, (New York, 1976), p. 223; Anne M. Leyden, A Perfect Chemistry. Photographs by Hill and Adamson, (Edinburgh, 2017), p. 10; Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 71, ref. d. (1) £1500-2000

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Lot 223

Lot 224

223* Hill (David Octavius, 1802-1870 & Adamson, Robert, 18211848). Portrait of Lady Elizabeth (Rigby) Eastlake (1809-1893, author and critic), c.1845, calotype, arched top, off white laid paper with pencil inscription at foot, image size 208 x 154mm

226* Hill (David Octavius, 1802-1870 & Adamson, Robert, 18211848). Portrait of an unknown man, c.1845, calotype, long closed tear (approximately 80mm) from just below left coat lapel to right margin, mounted within ruled border on pale buff wove paper mount, pencil note at foot of mount, image size 204 x 152mm

Colin Ford, An Early Victorian Album, (New York, 1976), p. 106; Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 135, ref. m. (1) £3000-4000

Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 126, ref. Unknown Man 134. (1) £700-1000

224* Hill (David Octavius, 1802-1870 & Adamson, Robert, 18211848). Portrait of an unidentified woman, c.1845, calotype, mounted on pale buff wove paper, pencil inscription at foot and to verso (both misidentifying the subject as Miss Scott), image size 203 x 151mm

227* Hill (David Octavius, 1802-1870 & Adamson, Robert, 18211848). Portrait of William Leighton Leitch (1804-1883, landscape painter, watercolourist, drawing master to Queen Victoria), c.1845, calotype mounted within ruled border on wove paper mount, pencil inscription to lower mount and mount verso, adhesion remains from a removed photograph to verso, image 193 x 138mm

Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), ref. Unknown Woman 49 b. (1) £1500-2000

Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 186, ref. c. (1) £1000-1500

225* Hill (David Octavius, 1802-1870 & Adamson, Robert, 18211848). The Sleeping Flower Gatherers - Misses Mary and Margaret McCandlish, c.1845, calotype, pale buff paper mount with pencil inscription beneath and to verso, image size 152 x 199mm Colin Ford, An Early Victorian Album, (New York, 1976), p. 264; Anne M. Leyden, A Perfect Chemistry. Photographs by Hill and Adamson, (Edinburgh, 2017), p. 93; Sara Stevenson, David Octavius Hill and Robert Adamson, (Edinburgh, 1981), p. 166, ref. Group 169. (1) £1500-2000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

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Lot 225

Lot 226

Lot 227

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228* Hill (Alexander Wilson, 1867-1949). A rare group of 5 bromoil transfer studies of central Scotland, c.1905-1940, printed on various paper and cardstock, titled and signed in pencil to lower margin (two untitled and one unsigned), largest size 310 x 212mm, smallest size 155 x 120mm Alexander Wilson Hill FRPS (1867-1949) was one of the acknowledged masters of pictorial photography in the period 1905-1940, using the bromoil transfer process. A keen amateur photographer, he lectured widely on the process, and his work was highly respected even in his lifetime. Shortly before his death, he ruthlessly edited his huge collection of images, burning those he believed were not to his exacting standards. Thus, the prints which survive, are those with which he was completely satisfied. His work can be found in the collections of, amongst others, the National Library of Scotland, the National Galleries of Scotland and St Andrews University Special Collections. The images offered here were gifted to John Hannavy from two sources: Hill’s son, Professor Sir Iain George Wilson Hill (1905-1982) in the late 1970s, and art and photography collector Erich Sommer (d. 2004) in the mid 1980s. Image titles: 1. A Summer Evening, Leith, 169 x 215mm; 2. ‘A Stiff Pull’ Cramond, 310 x 212mm; 3. A Corner of Cramond, 208 x 153mm; 4. Harbour Office, Crail, 223 x 165mm; 5. Canal Barges, Edinburgh, 129 x 195mm. From the collection of John Hannavy. (5) £250-350

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

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Lot 229 229* Hill (Alexander Wilson, 1867-1949). A rare group of 5 bromoil transfer studies of central Scotland, c.1905-1940, printed on various paper and cardstock, titled and signed in pencil to lower margin (two untitled and one unsigned), largest size 310 x 212mm, smallest size 155 x 120mm Image titles: 1. Crail Harbour, 201 x 245mm (unsigned and titled in an unidentified hand to verso); 2. Fisher Girls, Tarbert, 171 x 219mm; 3. The Close, Newhaven, 212 x 150mm; 4. ‘Andante’, A View of the Muchass Coast, 197 x 192mm; 5. The Sluice Gate, 152 x 200mm. From the collection of John Hannavy. (5) £250-350

230* Hill (Alexander Wilson, 1867-1949). A rare group of 5 bromoil transfer studies of central Scotland, c.1905-1940, printed on various paper and cardstock, titled and signed in pencil to lower margin (two untitled and one unsigned), largest size 310 x 212mm, smallest size 155 x 120mm Image titles: 1. Ploughing, 155 x 120mm; 2. [Hay Stack Yard], 170 x 215mm; 3. Spring at Cramond, 170 x 120mm; 4. The Harvest Field, 170 x 215mm; 5. A Slum, 165 x 218mm. From the collection of John Hannavy. (5) £250-350

Lot 230 75


231* Keith (Thomas, 1827-1895, attrib.). A group of 12 waxed paper negatives, 1853-56, mostly approximately 22 x 27cm and similar sizes except one smaller of stereoscopic negatives 8 x 15cm See John Hannavy, The Victorian Photographs of Dr. Thomas Keith and John Forbes White (2015). The page references in Hannavy’s book where these negatives are reproduced are mentioned after the titles. 1. Kilconquhar Loch and Church, Fife (p. 140); 2. Farm House in Winter (p. 130); 3. Avenue of Trees (p. 4); 4. The Mound and New College, Edinburgh (p. 129); 5. Covenanters’ Monument, Greyfriars (p. 34); 6. Tomb of Thomas McCrie, Greyfriars (p. 34); 7. Dryburgh Abbey, The Cloisters (p. 46); 8. Drygrange Old Bridge (p. 49); 9. Kilconquhar House/Castle (p. 125); 10. Elie Church (pp. 126-7); 11. St Michael’s Church, Linlithow (p. 128); 12. Unidentified shore scene - waxed paper stereoscopic negatives. Provenance: From the collection of John Hannavy. (12)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£3000-5000

76


77


234* Marville (Charles, 1816-1879). Sky study, Paris, 1859, albumenised salt print photograph, 155 x 205mm, original mount with photographer’s faint embossed stamp to lower margin, matted (1)

£400-600

232* Hill (David Octavius, 1802-1870 & Adamson, Robert, 18211848). James Ballantyne, 1845, printed 1890, carbon print, inscribed ‘20 Ballantyne’ to blank upper margin, old adhesion mark remains to upper and lower margin verso, 20.5 x 16cm James Ballantyne (1808-1877), artist and author. (1)

£150-200

235* Nadar [i.e. Félix Tournachon, 1820-1910]. Cabinet card portrait of the photographer’s son Paul Nadar (1856-1939) aged about ten, mid-1860s, photographer’s credits to lower margin and verso Paul Nadar followed in his father’s footsteps and also became a successful photographer. The backplate mentions the Exposition Universelle of 1878, so the photograph must have been printed after that date by Paul Nadar himself, who took over his father’s studio in the rue d’Anjou in 1874. (1) £100-150

233* Llewelyn (John Dillwyn, 1810-1882). River Dulais, Penllegare, 1850s, albumen print from a wet collodian negative, untrimmed, 310 x 265mm, together with five further albumen prints by Llewelyn: Garden seat, Penllegare, 225 x 275mm; Lower Lake, 195 x 245mm; Pheasants in the wood, 190 x 245mm; Dead Bittern, 150 x 130mm

236* Owen (Hugh, 1808-1897). Chain Armour and Swords (India), exhibited at the Great Exhibition, London, 1851, salted paper print photograph, 225 x 160mm, on original paper mount with printed caption beneath

Acquired by the owner from the Llewelyn family by descent. See Noel Chanan, The Photographer of Penllegare: A Life of John Dillwyn Llewelyn (2013). (5) £600-800

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

(1)

78

£300-400


Lot 236

Lot 237

Lot 238

237* Rejlander (Oscar Gustave, 1813-1875). Mrs C.H. Palainet Standing, Her Hands on a Boater Hat, 1870s, albumen print photograph, 240 x 175mm, on original mount with the photographer’s pencil signature to lower margin, board and photograph a little cracked to upper blank area, together with six further photographs relating to the Palainet family and Haffirld (7)

£300-500

238* Rejlander (Oscar Gustave, 1813-1875). Mrs Howell (Beatrice Butt), c.1860, albumen print, half length and seated in profile, 22 x 18cm, with contemporary paper album leaf with photographer’s name and sitter’s identification neatly written to blank and with an albumen print portrait of a group of nine men and women pasted to verso, c.1860, posing as a group in front of a house by the white line of a grass tennis court, three of the subjects holding tennis rackets, the location identified in ink to mount beneath as Kemerton Court [near Tewkesbury, Gloucestershire], and five of subjects identified as Emmie, Georgie, Mrs Holland, Edith and G.P. Christian (2)

Lot 239

£400-600

239* Talbot (William Henry Fox, 1800-1877). The Woodcutters Nicole & Pullen Sawing & Cleaving, c.1845, salt print from a calotype negative, 151 x 209mm, within ink-ruled border on card mount The photograph shows Nicolaas Henneman and Samuel Pullen working outside the woodshed at Lacock Abbey. Believed to have been given to a local family by Fox Talbot’s niece and thence by descent. (1) £700-1000

240* Talbot (William Henry Fox, 1800-1877). A group of silver articles on shelves, c.1845, salted paper print, 140 x 160mm, old card mount, together with a half-length salt print portrait of an unidentified suited man, added watercolour, c.1850s, 13.5 x 10.5cm, contemporary album mount with German inscription to verso, dated 1858, plus two further salt prints, one of an aqueduct and waterfalls in Italy, c.1840s, very faded, 19 x 24.5cm, the other of a print or watercolour of a rustic scene, 9.5 x 14cm (4)

£150-200

Lot 240

79


CRIMEAN WAR PHOTOGRAPHS BY ROGER FENTON From the Collection of John Hannavy

Lot 241

Lot 242

241* Fenton (Roger, 1819-1869). The Valley of the Shadow of Death, [1856], salt print, printed caption to lower margin of original mount, 274 x 361mm, conserved in archival boards window mount Lots 241 - 255 are from the John Hannavy collection of Victorian photographs. (1) £1000-1500

242* Fenton (Roger, 1819-1869). Zouave, 2nd Division, 1856, salt print, showing Roger Fenton dressed as a Zouave with his rifle pointing upwards, printed title and dated credit details of the publisher T. Agnew and Sons to lower margin of original mount (several splits), 173 x 152mm, conserved in archival boards window mount (1)

£400-600

244* Fenton (Roger, 1819-1869). Tartar Labourers, 1855, salt print, printed title and imprint details to lower margin of original mount, 144 x 169mm, conserved in archival boards window mount (1)

243* Fenton (Roger, 1819-1869). Chasseurs d’Afrique, 1855, salt print, printed title and publisher details to lower margin of original mount, 145 x 241mm, conserved in archival boards window mount (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£400-600

80

£200-300


245* Fenton (Roger, 1819-1869). Lieut. Col. Shadforth & Officers of the 57th, 1856, salt print, printed title and publisher’s imprint details to lower margin of original mount, 157 x 204mm, conserved in archival boards window mount

247* Fenton (Roger, 1819-1869). Cottages at Balaclava, 1856, salt print, printed title and publisher’s imprint details to lower margin of original mount, 205 x 248mm, archival boards window mount

(1)

(1)

£200-300

246* Fenton (Roger, 1819-1869). Head of Harbour, Balaclava, 1856, salt print, printed title to lower margin of original mount, 205 x 257mm, conserved in archival boards window mount (1)

£200-300

248* Fenton (Roger, 1819-1869). Captain Burnaby, Grenadier Guards, & Nubian Servant, 1856, salt print, 144 x 165mm, together with Major General Garrett & Officers of the 46th, 1856, salt print, 200 x 167mm, each with printed titles and publisher’s dated imprint details to lower margins of original mounts, archival boards window mounts

£200-300

(2)

81

£200-300


249* Fenton (Roger, 1819-1869). Men of the 68th Regiment, 1856, salt print, 150 x 159mm, together with Men of the 77th Ready for the Trenches, 1856, salt print, 169 x 154mm, plus Group of Croat Chiefs, 1856, salt print 199 x 165mm, all with printed caption and publisher’s dated imprint details to lower margins of original mounts, archival boards window mounts (3)

251* Fenton (Roger, 1819-1869). Lieutenant Colonel Munro & Officers of the 39th Regiment, 1856, salt print, 159 x 165mm, together with Officers of the 71st Highlanders, 1856, salt print, 147 x 148mm, plus Private in Full Marching Order, 1856, salt print, 168 x 163mm, each with printed titles and publisher’s dated imprint details to lower margins of original mounts, conserved in archival boards window mounts

£200-300

(3)

252* Fenton (Roger, 1819-1869). Camp of the 5th Dragoon Guards, 1856, salt print, 267 x 355mm, together with Artillery Wagons, Balaclava in the Distance, 1856, salt print, 244 x 342mm, plus The Lines at Balaclava, 1856, salt print, 280 x 345mm, each with printed titles and publisher’s dated imprint details to lower margins of original mounts, bruising and creasing of first mount and long split to third mount, conserved in archival boards window mounts

250* Fenton (Roger, 1819-1869). General Cissé & Officers & Soldiers of General Bosquet’s Division, 1856, salt print, 166 x 167mm, together with English Infantry Piling Arms, 1855, salt print, 135 x 160mm, plus Camp of the 4th Dragoon Guards near Kryni, 1856, salt print, 134 x 168mm, plus Officers of the Staff of Lieutenant General Sir Richard England, 1856, salt print, 125 x 145mm, each with printed titles and publisher’s dated imprint details to lower margins of original mounts, long split to mount of second photograph, conserved in archival boards window mounts (4)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£200-300

(3)

£200-300

82

£200-300


253* Fenton (Roger, 1819-1869). General Bosquet’s Quarters, 1856, salt print, 158 x 247mm, together with The British Head Quarters, 1856, salt print, 158 x 269mm, plus Cemetery, Cathcart’s Hill, 1856, salt print, 175 x 247mm, each with printed titles and publisher’s dated imprint details to lower margins of original mounts, conserved in archival boards window mounts (3)

£200-300

255* Fenton (Roger, 1819-1869). Balaclava, from Guards Hill, 1855, salt print, 257 x 342mm, together with Cavalry Camp, Looking Towards Kadikoi, 1856, salt print, 256 x 335mm, plus [Camp of the 71st Regiment], 1856, salt print, 238 x 341mm, printed titles (to first two only) and publisher’s dated imprint details to lower margins of original mounts, conserved in archival boards window mounts (3)

254* Fenton (Roger, 1819-1869). Officers on the Staff of Lieutenant General Sir G[eorge] Brown, 1856, salt print, 197 x 165 mm, together with Lieutenant General Sir J.F. Pennefather & Staff, 1856, salt print, 144 x 203mm, plus Hardships in the Camp, 1856, salt print, 172 x 166mm, all with printed titles and publisher’s dated imprint details to lower margins of original mounts, conserved in archival boards window mounts (3)

£200-300

83

£200-300


GUILLEMIN’S PHOTOGRAPHY HANDCART

256* Guillemin Photography Handcart, Paris, 1890s, a well-preserved, wooden photography handcart, painted black, with ‘Plaques & Papiers Photographiques - Guilleminot’ in gold lettering on the side, hinged convex lid for storage of materials, removable wheels and axle, 137 x 148 x 118 cm (height/length/width), approximately 200 kg Guilleminot (also known as R. Guilleminot, Boespflug et Cie) based in Paris, was a photographic paper, and plate manufacturer established by Gustave Guilleminot in 1858, only closing finally in 1994. A purpose-made wooden packing crate is available to the buyer of this lot. (1) £2000-3000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

84


CASED IMAGES, LANTERN SLIDES & NEGATIVES

257* Ambrotype. A half-plate tinted ambrotype of a mason or architect, 1850s, half length and seated, with a trowel and pair of compasses, decorated border in gilt, red, blue and white, overall 18 x 14.5cm, together with a sixth-plate ambrotype of a German group of soldiers, 1860s, the centre figure holding a pair of binoculars, gilt-titled on the glass ‘Erinnerung an den Niderwald’, seals a little frayed (2)

259* Ambrotype. An ethnographic portrait of a woman seated at a table, c.1860s, quarter plate, oval aperture, embossed wooden leather case with geometric and leafy designs, 113 x 93mm It is difficult to judge whether the woman is African American or possibly from somewhere more exotic. (1) £400-600

£200-300

258* Ambrotype. A tinted half-plate ambrotype of a French cavalry officer, 1860s, three-quarter length in full uniform, handcoloured with gilt highlights, recessed oval mount, seals broken and case split, together with a tintype of a musician with violin, gilt stamped frame, plus two hand-coloured lantern slides of Turkish men, c.1890, wooden support (4)

260* Ambrotypes. Two modern whole plate ambrotypes, one of a pair of boots, and one of a child’s pram, together with two occupational quarter-plate ambrotypes, c.1860, one of a corn merchant, gilt frame, and one of a bread man, oval gilt mat, seals partly broken (4)

£200-300

85

£100-150


261* Cartes de visite. A collection of over 120 photographs, c.1860/80s, mostly albumen print cartes de visite and some cabinet cards, subjects include acrobats, workers, royalty, ethnographic, Russian midgets, etc.

263* Cartes de visite. A collection of approximately 250 cartes de visite and 200 cabinet cards, c.1860s and later, mostly single subject portraits of men, women and children, some window mounted in two Victorian albums

(approx. 120)

(a carton)

£300-400

264* Cartes de visite. A group of approximately 200 cartes de visite and 100 cabinet cards, c.1860s/1880s, covering a wide range of subjects, including royalty, celebrities (authors, composers, artists, actors, etc., British military, musicians, circus performers and human oddities, fancy dress costumes, domestic servants, agriculture and animals, bicycles, topographical views and social history

262* Cartes de visite. A Victorian cartes-de-visite album, late 19th century, containing 60 window-mounted cartes de visite and 16 cabinet cards, all single subject portraits including many of actresses and performers, many by Elliott & Fry and W. & D. Downie, the majority with contemporary manuscript identification of subjects tipped in, subjects include Ellen Terry, Madame Albani, Sarah Bernhardt, Adelina Patti, Henry Irving, Mr & Mrs Kendall, Mrs Bancroft, etc., many of the cabinet cards garishly hand tinted, chromolithographically decorated mounts, a few windows slightly torn and several mounts detached, contemporary calf, embossed in gilt and blind, heavily rubbed, lacks clasp, 4to (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£150-200

(approx. 300)

£100-150

86

£500-800


Lot 265

Lot 268

265* Cartes de visite. A collection of 48 albumen print cartes de visite, c.1860s, depicting North African ‘types’ and locations, photographers including Famin, Alary and Geiser, Jean Geiser, Royer and Aufière and Prud’hom, all of Algiers, Garrigues of Tunis, and H. Delié of Cairo (48)

£300-500

266 Cartes de visite. A group of six late Victorian cartes-de-visite albums, c.1860s and later, containing numerous window-mounted cartes de visite and some cabinet cards, mostly of unidentified men and women, contemporary morocco, some wear, all 4to (6)

£150-200

267 Cartes de visite. A group of seven late Victorian albums of cartes de visite, c.1860s and later, containing window-mounted cartes de visite and some cabinet cards, mostly of unidentified men and women, contemporary morocco binding, some with clasps, all somewhat rubbed, oblong 8vo/small 4to (7)

£150-200

268* Cased images. A group of ambrotypes and daguerreotypes, 1850s/1860s, all of unidentified men, women and children, including two sixth-plate daguerreotypes and one ninth-plate daguerreotype, mostly with some defects to images, cases and frames (11)

£200-300

269* Daguerreotype. A fine French half-plate daguerreotype portrait of a man shown bust length, 1840s, some tarnishing to left-hand and upper margins, seals split, now housed in a distressed leather half-plate case (1)

£200-300

Lot 269

87


272* Daguerreotype. A quarter-plate daguerreotype of a priest, 1845, half length, seated and holding papers, paper seals frayed, inscribed to verso ‘fait en juin 1845’

270* Daguerreotype. A sixth-plate daguerreotype of Mrs J. Smith Osler by Bracher of Oxford, 1850s, slight tarnish to right-hand margin, embossed case, together with another sixth-plate daguerreotype of an unidentified woman gazing at the camera, hand on chin, 1850s, some marginal tarnishing, plain case, heavily rubbed, plus a ninth-plate ambrotype of a young child seated on a chair, by Urie, Glasgow, 1860s, lacks lid (3)

(1)

£300-400

£200-300

273* Daguerreotype. A post-mortem ninth-plate daguerreotype by Holmes, New York, showing a small girl with black ribbons tied round her wrists, evidence of previous cleaning, embossed leather case with lyre motif, together with a sixth-plate daguerreotype, early 1850s, post mortem of a child in her mother’s arms, Eichmeyer case with gilt clasp, plus a ninth-plate ambrotype of a small child supported by a hand, gilt stamped frame, plus a sixteenth-plate daguerreotype of a small child (4)

271* Daguerreotype. A quarter-plate daguerreotype of a young man, 1850, half length, seated at a table and wearing a cravat, jacket and waistcoat, passepartout frame, inscribed to verso, ‘Rue Montmartre 169, 19 juillet 1850’ (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£300-500

274* Dufaycolor. Two viewing boxes for Dufaycolor transparencies, 1930s, in original soiled and worn boxes, together with a group of 32 transparencies including flowers, Whitby, etc., plus a related book

£300-400

(approx. 35)

88

£100-150


Lot 275 275* Glass plate negatives. A group of approximately 300 glass plate negatives of English rural life, early 20th century, depicting unidentified families, many outdoor scenes, plus some interiors, mostly 8 x 10.5cm, and some 12 x 16.5cm

276* Glass plate negatives. A group of approximately 130 glass plate negatives, c.1893, including images in Rangoon, North Africa, and Europe, half the plates approximately 16 x 12cm and the remainder 8 x 10.5 cm, plus 12 flexible negatives

(a carton)

The photographer is believed to be Helen Mary Latham. She married Sir Charles William Chitty in Byeculla, Bombay, 1893. The negatives include many interesting architectural sites, landscapes, and social documentary, as well as family members, friends, colleagues and household servants. (approx. 130) ÂŁ300-500

ÂŁ300-500

Lot 276

89


Lot 280 277* Magic Lantern Slides. A group of approximately 300 diapositive lantern slides, early 20th century, including professional and amateur views plus some from books and engravings, some colour tinted mostly captioned and numbered and contained in one tin and two wooden slides boxes

282* Magic Lantern Slides. A group of approximately 600 diapositive photographic lantern slides of Egypt and Europe, early 20th century, people, street scenes and views in Egypt, Tangiers, Lisbon, Switzerland, Venice, etc., mostly with inked captions, some seals split, 8 x 8cm, contained in 12 card and wooden boxes

(approx. 300)

(2 cartons)

£150-200

278* Magic Lantern Slides. A group of 25 colour magic lantern slides, early 20th century, mostly children’s stories, including a few hand-painted, 8cm diameter, wooden supports, plus a group of 24 further colour lithographic lantern slides, five slip slides and one kaleidoscopic slide with handle, all somewhat dusty and with some wear, plus a somewhat rusted old tin magic lantern projector (plug removed) (a carton)

283* Magic Lantern Slides. A group of approximately 50 diapositive photographic lantern slides of Canada and the USA, early 20th century, some seals partly split, many with printed or inked titles, including Kicking Horse Pass, House of Parliament, Group of Indians, Cordova Street, Vancouver, Frozen Creek, Niagara, Brockville, Canadian Pacific Wharf, Vancouver, Prairie, Genesee Falls, Montreal, Liberty Statue, etc., 8 x 8cm, contained in a wooden slide box

£70-100

(approx. 50)

279* Magic Lantern Slides. A group of approximately 400 assorted lantern slides, early 20th century, including approximately 100 diapositives of British views including Scotland, plus a small group of diapositives of children, First World War interest and a large group of mostly diagrammatic natural history interest, contained in four wooden and card boxes (a carton)

£100-200

(56)

£100-150

(a carton)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£200-300

285* Magic Lantern Slides. A collection of over 200 diapositive lantern slides, early 20th century, various subjects including trades, ethnic, Greece, etc., etc., some captioned and contained in two wooden slide boxes, together with a small quantity of assorted stereoviews and two small framed and glazed ethnic portraits of Asia interest

£100-200

281* Magic Lantern Slides. A group of approximately 300 colour lithographic slides of religious scenes, 8 x 8cm, contained in seven old slide boxes (a carton)

£100-150

284* Magic Lantern Slides. A group of 56 good quality handpainted magic lantern slides, late 19th century, circular images 7-10cm diameter on wooden supports, mostly with titles inked to upper edge, including Supper at Emmaus, Tigress, Wellington, Napoleon, Santa Maria della Spina, Rome illuminated, Mary Queen of Scots, Rome, Bridge of Sighs, A Christian house in Palestine, Nelson, Polar Bears, Buffalo, Castle of San Angelo, Radcliffe Library, Oxford, Napoleon musing at St Helena, Galerie d’Orleans au Palais Royal, Parnassus, Lion, rue de Rivoli, Paris, The Crucifixion, etc.

280* Magic Lantern Slides. The Prince of Wales’ Visit to India, 1875, a set of 56 numbered colour lithographic lantern slides, plus others related, 8 x 8cm, the set in wooden supports, together with a frayed and soiled copy of the accompanying lecture booklet, contained in an old wooden box (approx. 80)

£300-400

90

£100-200


Lot 284

287* Opaltype. A hand-painted photographic portrait of an older woman’s head, late 19th century, 22 x 18 cm, original elaborate gilt frame preserved within a velvet-lined glazed case, with hooks and desk stand, John Thompson label to verso and the name ‘Bonao’ scratched on to the back of the frame, overall size 40 x 37 cm 286* Magic Lantern Slides. A group of 16 diapositive lantern slides of Madagascar, c.1930s, plus 10 further travel interest, including six of China (tinted), and one of Daru (Papua New Guinea), plus 13 others after drawings and engravings

John Thompson opened his first English portrait studio in Buckingham Palace Road, London, in 1881. The sitter is possibly Maxima Bonao (1820-1925). (1) £100-150

(39)

288* Stereo View. The South African War Through The Stereoscope, Volume 1 & II, Underwood & Underwood (105 cards), together with The Great War, Official Series, Realistic Travels London (89 card) plus another Including the Official Series (102 cards), each in book form box plus a viewer stamped “The Perfecscope” and dated 1900

£150-200

(-)

91

£100-150


THE JOHN HANNAVY COLLECTION OF CASED IMAGES Professor John Hannavy started collecting Victorian photography in the early 1970s, and as his collection grew, so did requests for him to write and illustrate historical articles for the photographic press. He curated The Camera Goes to War – the first exhibition devoted to the photography of the Crimean War – for the Scottish Arts Council in 1974, and his first monograph Roger Fenton of Crimble Hall was published by Gordon Fraser in the UK and David R. Godine in Boston in 1975. Masters of Victorian Photography was published the following year in the UK, US and Australia. His first book on Thomas Keith was published by Canongate in 1981. John wrote and appeared in the BBC Scotland tv series A Moment in Time in 1983, and the BBC North West series The Past in Focus in 1986. Amongst his recent major works are Case Histories – the presentation of the Victorian photographic portrait (Antique Collectors’ Club, 2005), Great Photographic Journeys – in the footsteps of pioneer British photographers abroad (Dewi Lewis, 2006) and, as Editor and contributor, The Encyclopedia of Nineteenth-Century Photography. His most recent book, The Victorian Photographs of Dr Thomas Keith and John Forbes White was published in 2015.

CASED IMAGES, ALBUMS, CDVs & STEREOVIEWS 290 Carte-de-visite albums. A cabinet card and carte-de-visite album, late 1870s, 25 stiff card leaves, designed to hold 24 cabinet cards and 124 cartes de visite (only seven cartes de visite here present), the remaining windows blank, a few ink inscriptions to mounts, all edges gilt, leather-backed thermoplastic covers with bois durci moulded cover featuring three chamois on rocks set in relief against a beige leather background, the thermoplastic lower cover with oval geometric design, gilt clasp, 29 x 23cm, together with a thermoplastic album manufactured in France in the 1880s, with windows for 22 cabinet cards and 16 cartes de visite, here lacking only four cabinet cards, the studios for the unidentified portraits including Reutlinger and Langlois, both of Paris, all edges gilt, morocco-backed thermoplastic covers, the upper cover in relief with ornamental design and monogram MS, the lower cover with the same border but a plain ground, gilt silver clasp with patent dates of 1875 and 1881, 22 x 18cm Hannavy, Case Histories, pp. 133-135. (2)

£100-150

289 Carte-de-visite album. A rare semi-circular carte-de-visite album, late 1870s, fourteen stiff card leaves with gilt floral decoration, with four window-mounted cabinet cards and 37 cartes de visite (including three tinted), one window with old sellotape repair remains, all edges gilt, embossed padded morocco with floral border design and gilt clasp, rubbed on joints and at head and foot of spine, 36 x 20cm (closed) Hannavy, Case Histories, p. 139. (1)

£100-150

291* Carte-de-visite-size ambrotype of a man and his seated wife, by an unknown photographer, 1860s, in half case, together with an albumen print carte de visite of a graduate in academic dress by Hills & Saunders, Oxford, 1860s, double-fronted leather case lacking fold-out desk stand at back, plus an albumen print carte de visite of a lady by Bracher, in leather case with gilt clasp and photographer’s gilt embossed stamp on base, ‘Bracher, Photographic Artist, 26 High Street, Oxford’, each 10.5 x 7.5cm Second item: Hannavy, Case Histories, p. 138. (3)

Lot 290

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

92

£80-120


294* Daguerreotypes. A pair of ninth-plate daguerreotype portraits of a lady and gentleman, presumed husband and wife, by the Photographic Institution, Salop, 1840s, circular aperture size 38 mm, plain mat, leather cases with studio gilt stamp on bases

292* Cartes de visite. A group of four albums of window-mounted cartes de visite, c.1860s, including one volume of British views, with an image of baling machines, plus assorted portraits and views, plus cartes de visite of artworks, various embossed bindings, small 4to/folio, together with a small quantity of loose cartes de visite including a deathbed portrait cartes de visite of a child drowned in a local pond by G. Forsyth of Hull, late 1860s, a portrait of Thomas Carlyle by Elliott & Fry, a group of four rare advertising cartes de visite of sewing machines manufactured by Bradbury & Company of Oldham and a collection of 59 cartes de visite of European architecture by Ponti, Brogi and others (a small carton)

The Studio is believed to have been operated by Philip Corbett in Belmont, Shrewsbury, from 1842. Illustrated in Hannavy, Case Histories, p.12. (2) £150-200

£150-200

295* European Royalty. A complete miniature album containing 24 window-mounted albumen prints of British & European royalty, by J.E. Mayall and others, 1860s, including portraits of Prince Albert, Princess Alexandra and children including one composite, thermoplastic or moulded ‘bois durci’ covers with inlaid design and onlaid carved wood leaf design, banded leather spine and brass clasp, 12.5 x 9.5cm Hannavy, Case Histories, p. 132. (1)

293* Daguerreotype. A sixth-plate daguerreotype portrait of a young lady by Frederick de Bourg Richards of 179 Chestnut Street, Philadelphia, 1850s, tinted and gilded, photographer’s name stamped into brass mat and embossed on to rose-coloured velvet pad (also featuring the emblem of the American eagle), embossed leather case with floral motifs to lid and geometric design to base, 91 x 78mm An eminent photographer in his day, Richards’ portraits from his studio included Jenny Lind and Lola Montez. Hannavy, Case Histories, p. 34. (1) £100-150

93

£150-200


296* Five sixth-plate ambrotypes showing seaside activities by Thomas Harrison & others, 1860s to 1880s, one image of a man on horseback on the sands, South Beach, Scarborough, by Thomas Harrison, the others showing a child with her mother, a child with her doll, a father and two children on a pebble beach, and three children with a donkey cart (dated Blackpool, August 1882), wooden frames somewhat rubbed and a little chipped, one edge missing Hannavy, Case Histories, pp. 38 & 136. (5)

£100-150

298* Four sixth-plate outdoor ambrotypes, 1860s, showing three ladies sitting on a park bench knitting, a man and three servants outside a marquee, a family of four setting off in a carriage, and nine people setting off in a horse-drawn charabanc, all in wood and paper hanging frames, frames with some rubbing and paper chips (4)

£150-200

297* Four sixth-plate ambrotypes by an unknown photographer, late 1850s, of John Patten WS, his wife and seven children, cased as two variant pairs with the same grouping of mother and three children, father and four children in wallet-style cases A handwritten note in one of the cases names all the sitters. Patten was a Scottish solicitor and ‘law agent’ and served as a magistrate in Greenock from the late 1820s. Hannavy, Case Histories, p. 68. (2) £200-300

299* Half-plate ambrotype of a seated lady by G. & D. Hay, Photographists, 68 Princes Street, Edinburgh, c.1860, tinted and gilded, leather case with photographers’ gilt stamp embossed on base George Heron Hay and David Syme Hay were at this address from 1858 until 1869. Hannavy, Case Histories, p. 50. (1) £200-300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

94


302* Ninth-plate ambrotype portrait of a seated lady, by R. Cade, Ipswich, c.1860, embossed details to lid, together with a sixth-plate tintype of a couple in red paper-covered ‘Forget-me-not’ case used by itinerant fairground photographers, 1870s, slightly rubbed, plus a French oversize ninth-plate ambrotype portrait of a seated young man in velvet-covered case, c.1870, photographer unknown, push button closure, plus a French tintype of a boy in a sailor suit, c.1870, wood and embossed red leather case, plus a sixth-plate tintype of a group of three young ladies, 1870s, and a ninth-plate ambrotype of a young man, 1860s, both in French pressed metal frames

300* Liverpool Institute of Photography. A beautifully tinted albumen print portrait of a seated young lady in ornate satin dress, c.1860, shown seated on a red velvet chair, 10.5 x 8cm, leather case with gilt embossed stamp to base giving address as Lord Street Chambers, 87 Lord Street, Liverpool, together with a half-plate albumen print of a seated gentleman by Herbert Watkins, 179 Regent Street, London, c.1855-58, leather case with photographer’s gilt embossed stamp to lid, plus a tinted paper print of a mother and young daughter seated by a table, after 1861, set in a gilt oval in a burgundy velvet base [1852-55], cream silk pad, housed in a top-hinged leather case with photographer’s gilt stamp on the base, ‘James Mudd, 10 St Anns Square, Manchester’ First item: Hannavy, Case Histories, p. 80. (3)

Hannavy, Case Histories, pp. 75-76 (all but third and fifth items). (6) £100-150

£100-150

301* Miscellaneous Photography, mostly late 19th century, including a group of four quarter-plate autochromes by W. Wilson, 1907-1910, taken in the conservatories at Stamford Park, Stalybridge, Lancashire, the slides annotated with exposure times, together with a Pistol Flashmeter, in original box, c.1910, plus a group of ten lantern slides of British views by George Washington Wilson, James Valentine, and others, plus 8 lantern slides of ships, plus packaging relating to the Finlay and Paget colour processes, with one lantern slide example of each process, plus a group of 11 stereoviews of Boer War, etc., plus a group of 23 colour photographs by Photocrom of seaside scenes, etc. (a small carton)

303* Ninth-plate ambrotype of a woman seated on a highbacked chair, by William Andrews, Photographic Gallery, 29 Westmorland Street, Dublin, 1860s, leather case with photographer’s label inside, lid with embossed rococco design, together with four other ninth-plate ambrotypes, three of men and one of a woman, all by unknown photographers, contained in leather cases, one plain, one wallet-style, one with embossed embossed floral design to lid and one Eichmeyer case Hannavy, Case Histories, pp. 70, 37 & 69. (5)

£100-150

95

£100-150


304* Ninth-plate tinted daguerreotype copy of a young man, by Thomas Chapman Browne, c.1850, a little tarnished to extremities, top-hinged leather case with the photographer’s gilt embossed stamp ‘T. Chapman Browne, Bible & Crown, Market Place, Leicester’ to base, and Browne’s business card inside the case advertising his ‘Patent Photographic or Daguerreotype Establishment’ and listing his other skills as printed, stationer, music seller, bookbinder and insurance agent, plus a ninth-plate daguerreotype of an elderly gentleman by an unknown photographer, 1850s, image tarnished at edges and somewhat faint, seated in an embossed Thomas Wharton pan and preserver, housed in a sixth-plate plain leather top-hinged case, plus a sixthplate daguerreotype of a seated gentleman, by Everett Gallery, 423 Broadway, New York, 1850s, name and address stamped on mat, housed in a damaged geometric design thermoplastic union case (Berg 3-160) First three items: Hannavy, Case Histories, pp. 17 & 30-31 respectively. (3) £100-150

Lot 306

305* Ninth-plate daguerreotype of a mother and child, by Tyler & Co., Corner of Washington and Winter Streets, Boston, 1850s, embossed case with trade card beneath image, together with two further ninth-plate daguerreotypes, 1850s, the first by ‘Oliver H. Willard, 120 W Market Street, 8 doors East Schl. St and 6th St. Philadelphia’, fine portrait of a young girl in a checked dress, embossed leather case, a little flaking to base, the second by Thompson & Davies, 164 Fulton Street, Brooklyn, of a baby supported by a mother’s hand, dress tinted blue, marginal tarnishing, photographers’ name and address stamped on mat, plain leather case First two items: Hannavy, Case Histories, pp. 66 & 70. (3)

307* Pair of ninth-plate tinted daguerreotypes, by Beard & Foard’s Photographic Institution, 1852-55, the first of a seated young lady, housed in a deep blue leather case with gilt stamp to base bearing the address ‘14 St. Ann’s Square, Manchester, and 34 Church Street, Liverpool, also at 31 King William Street, 34 Parliament Street and the Royal Polytechnic Institution, London’, the second of a seated gentleman, tarnished at lower margin and upper right margin, leather case with gilt stamp bearing address ‘14 St Ann’s Square, Manchester, 34 Church Street, Liverpool’, plus two ninth-plate daguerreotypes by J.J.E. Mayall, 1853-1855, the first of a clergyman seated and reading a book, leather case with gilt embossed stamp to lid, ‘Daguerreotype Institution, J.E. Mayall, 433 West Strand’, the second of a young man in a leather case bearing the same name and address details in a different design to base

£200-300

306* Occupational ambrotypes. Three quarter-plate and two sixth-plate occupational ambrotypes of shops and shopkeepers, 1860s and 1870s, subjects are ‘Camberwell Dairy’ (sixth plate), T. Short’s Leather Shop (sixth plate), R. Evans music shop and stationers, Shropshire (quarter plate), Furness & South Cumberland Supply Co. (quarter plate), and Harriet Whisker Ale & Porter Stores, Manchester area (quarter plate), all housed in wood and paper wall frames, some edge wear (5)

£100-150

Third item: Hannavy, Case Histories, p. 33. (4)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

96

£150-200


308* Pair of quarter-plate daguerreotypes of a seated man, both 1850s, the first by Thomas Jones of a younger man, tinted pink cheeks, some marginal tarnishing, leather case with embossed stamp, ‘Jones Photographist, Royal Arcade, 537 New Oxford Street’, the second of an older man by John Werge, name and address stamped on mat, ‘Monteith Rooms, Glasgow’, plain leather case

310* Pair of sixth-plate ambrotypes of a young husband and wife, by Henry Boswell Lee (or Joseph Lee), 57 Church Street, Liverpool, c.1860, in leather cases with photographer’s embossed stamp to lids, together with a tinted sixth-plate ambrotype of a seated woman, by J. Wilkinson, Photographer, 17 Sheffield Moor, late 1850s, embossed case with floral design to lid and bearing gilt embossed details to base, plus a sixth-plate ambrotype of a seated young gentleman by Beard & Foard, 14 St Ann’s Square, Manchester & 34 Church Street, Liverpool, late 1850s, plain leather case with gilt embossed photographer details to base

Thomas Jones moved to this address in 1854 and operated from that address for only two years, John Werge succeeded Jabez Hughes at the Monteith Rooms, 67 Buchanan Street, Glasgow. (2) £150-200

Henry Lee had been a fabric retailer until retirement in 1857 when he took up photography and opened a studio with his brother Joseph. His brother was the artist John Ingle Lee. Henry’s other two sons George and Henry established the famous Liverpool department store of George Henry Lee. Hannavy, Case Histories, p. 42 (last item). (4) £150-200

309* Pair of quarter-plate tinted daguerreotypes, by William Edward Kilburn, both 1852-1855, the first of a young girl standing against a scenic background, some small patches of marginal tarnish, the second of a young man seated against a scenic background, both in leather cases, the second with button closure, both with gilt embossed stamps ‘By Royal Appointment, Mr Kilburn, 234 Regent Street’ to lids, plus a ninth-plate daguerreotype copy of a painting showing a foppish young man seated, by William Edward Kilburn, 1852-1855, leather case with photographer’s gilt embossed stamp

311* Pair of sixth-plate daguerreotypes of young ladies, early 1850s, the first a tinted daguerreotype portrait by Richard Lowe, Promenade, Cheltenham, embossed wood and leather case with photographer’s gilt stamp, the second by an unknown photographer of a young lady with ringlets, plain leather case with button closure, both a little rubbed at corners

Kilburn’s colourist was the Frenchman Monsieur C. Mansion. Hannavy, Case Histories, pp. 7 & 32. (3) £200-300

Richard Lowe was originally employed as a manager of Beard’s Photographic Institution in Cheltenham. He then operated the studio under his own name from 1850 until 1856, when he ran up considerable debts in local shops, caught a train to Liverpool and was never heard of again. Hannavy, Case Histories, p. 20. (2) £150-200

97


312* Pair of sixth-plate daguerreotypes, by Gustav Oehme, mid 1840s, photographer’s label to frame versos and subjects identified in ink as Aunt Louise Rause née Bencke and Aunt Bertha Sell née Bencke, marginal tarnishing with thicker band to second image, gilded wood and plaster frames, backing retaped (1970s), overall 18 x 16.5cm Carl Gustav Oehme (1817-1881) learned the daguerreotype process from Daguerre in Paris in 1840, and in 1841 he was one of the first to exhibit daguerreotypes in Germany. He opened his studio in Berlin in 1843 at 20 Jagerstrasse, trading as Gustav Oehme. Hannavy, Case Histories, pp. 15 & 22. (2) £500-800

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

98


314* Plumbe Jr. (John, 1809-1857, attrib.). Three sixth-plate daguerreotypes of a mother and two daughters, c.1843-5, one of the girls tinted, pink silk pads, embossed leather cases with Grecian urn and flowers design and fasteners Hannavy, Case Histories, p. 19: ‘Plumbe is credited with introducing the embossed leather case, and this “Grecian Urn” is believed to be his earliest... All [the subjects] are believed to be American’. (3) £150-200

313* Pair of tinted ninth-plate ambrotypes, by Alfred Brothers, 4 St Ann’s Square, Manchester, c.1860, one of a seated young man, the other of a boy on a chair, perhaps the man’s son or younger brother, in leather cases embossed with a gilt stamp to base, together with a ninth-plate ambrotype of a young woman, by Joseph Whitlock, 110 New Street, Birmingham, c.1860, gilt highlights, leather case with gilt stamp to base

315* Quarter-plate ambrotype of a seated woman, by Henry Boswell Lee (or Joseph Lee), 57 Church Street, Liverpool, c.1860, vignetted portrait, leather case with gilt embossed stamp to base, together with another quarter-plate ambrotype of a seated elegantly dressed lady by an unknown photographer, believed to be from Southport, Lancashire, 1850s, housed in a rare ‘Urn and Flowers’ gilt embossed leather case with push button closure

The Alfred Brothers’ studio had previously been occupied by Beard & Foard. Hannavy, Case Histories, pp. 42-43 & 52-53. (3) £150-200

Second item: Hannavy, Case Histories, p. 62. (2)

£150-200

316* Quarter-plate ambrotype portrait of a regimental sergeant major in the 17th Light Dragoon Lancers, c.1860, seated at a table with his cap on the table (laterally reversed), together with a sixthplate ambrotype of the same officer seated at a table and wearing his cap (with correct orientation), both images gilded and lightly tinted and housed in embossed leather cases Hannavy, Case Histories, pp. 40 & 41. (2)

Lot 314

99

£200-300


317* Quarter-plate daguerreotype of a young girl with long ringlets, by Ross & Thomson, Edinburgh, 1850s, three-quarter length with headband, a little tarnished at extremities, leather case with photographers’ gilt embossed stamp to lid, ‘By Appointment to the Queen, Ross & Thomson, 90 Princes St, Edinr.’ Hannavy, Case Histories, p. 36. (1)

319* Scotland. Photographs of Scottish scenery. An album of albumen print Scottish views by James Valentine, 1870s, mostly captioned in the negatives, mounted on stiff card leaves and backto-back throughout, contemporary red morocco with gilt title and Royal coat-of-arms to upper cover, rubbed, 4to, together with two tinted albumen print stereoviews by Roger Fenton of Melrose Abbey and Bolton Castle, plus 13 cartes de visite by Scottish Studios, and a further group of ten stereoviews of Scottish interest

£100-150

(26)

318* Quarter-plate tinted portrait of a seated gentleman, by John Urie, 33 & 35 Buchanan Street, Glasgow, late 1850s, embossed floral pad and embossed leather case with Urie’s gilt embossed details to base, one small corner chip, together with three further ambrotypes by Glasgow photographers of the same period, the first a sixth-plate ambrotype of a seated lady, photographer’s name and address stamped on mat and on base of leather case, ‘Bowman, 65 Jamaica Street, Glasgow’, a sixthplate portrait of two male friends in a banded leather Eichmeyer case with embossed gilt stamp of the photographer to base, ‘Dickson, 16 St Enoch’s Sq., Glasgow’, and a ninth-plate gilded portrait of a lady in leather case with pressed paper floral relief designs to lid and base, the mat stamped, ‘Taylor, 46 Jamaica St., Glasgow’

Lot 320

John Taylor was at this address 1855-1862, Mrs Taylor from 1861 to 1864. Hannavy, Case Histories, pp. 44, 46 & 67 (first, third and fourth items). (4) £200-300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£100-150

100


320* Sixth-plate ambrotype of an old gentleman, by Ross & Thomson, Photographers to the Queen, Edinburgh, late 1850s, embossed leather case with gilt stamp on base, together with a ninth-plate ambrotype of a seated young man by the same studio, late 1850s, gilt highlights, leather case with gilt embossed stamp to base, together with two ninth-plate ambrotypes of young women, late 1850s, one with inside label of Henry Smith, Photographer, 102 Southbridge, Edinburgh, plain leather case, the other with pressed paper floral design to lid and gilt stamp of ‘John Stuart, 120 Buchanan St., Glasgow’ to base, plus two further ninth-plate ambrotypes, 1860s, one of a lady in a leather case with gilt stamp of H. Greatrex, 70 Regent Street & 196 Piccadilly, [London], the other of a seated young girl by an unknown photographer, in moulded and varnished paper case, the sitter identified by an ink inscription on paper behind the image stating her to be ‘Elizabeth Foster, October 21 1856, Meniscus’ Hannavy, Case Histories, pp. 47 & 66 (first two items) and p. 65 (last item). (6) £200-300

Lot 322

321* Sixth-plate ambrotype of two little girls seated and holding hands, by an unknown photographer, late 1850s, housed in an embossed and gilded leather case with push button closure Hannavy, Case Histories, p. 59. (1)

£150-200

323* Sixth-plate ambrotype of a coach and passengers outside the Dyke Hotel, Brighton, by an unknown photographer, c.1865, emulsion showing some cracking, housed in a thermoplastic union case with three roses in an oval motif and containing a label for ‘Patent American Union Cases’ added for the British market, slight corner wear, clasp broken and lower hinge a little loose

322* Sixth-plate ambrotype portrait of a seated gentleman with a top hat, by F. Reynolds Photographic Gallery, Leamington, late 1850s, blue tinting, embossed paper case, together with a sixthplate ambrotype of a seated bald man with beard, gilt highlights, embossed leather case with button closure (stiff), plus a ninthplate ambrotype of a uniformed railway official, in embossed and formerly gilted case, plus a ninth-plate tinted ambrotype of a lady in a blue-grey dress, set in an oval French pressed-metal wall frame, 9 x 7.5cm Hannavy, Case Histories, pp. 55 & 131 (first and last items). (4)

Berg 2-48. (1)

£150-200

101

£100-150


326* Sixth-plate ambrotype of a seated girl, by A. Judson & Sons, 238 Broad Street, Newark, NJ, late 1850s, tinted pink cheeks, oval mat with photographer’s stamped name and address and the inscription ‘Patented July 11 ‘54’, metal-hinged black leather case with button closure

324* Sixth-plate ambrotype of brickmakers on an unidentified building site, by an unknown photographer, late 1850s, brass mat, wood and paper wall frame with eye hook Hannavy, Case Histories, p. 38. (1)

£70-100

A very fine image. (1)

327* Sixth-plate daguerreotype of a seated young man, by Cornelius J. Hughes, Monteith Rooms, 67 Buchanan Street, Glasgow, early 1850s, a little tarnished at upper and lower margins, name and address stamp to mat, embossed green velvet pad, wood and leather case, together with a sixth-plate daguerreotype of a bearded gentleman, by Rufus P. Anson, 589 Broadway, New York, oxide spot to forehead, photographer’s name and address stamped to mat, embossed burgundy velvet pad, wood and leather case with embossed geometric design, plus a sixth-plate daguerreotype by an unknown photographer of a recently married couple, mid 1850s, daguerreotype cleaned [late 1970s], wood and leather case with gilded ‘Urn’ design and button closure

325* Sixth-plate ambrotype of a sculptor or sculpture restorer by an unknown photographer, c.1860, shown full length in his backyard and surrounded by casts of historica sculptures, embossed leather case with gilt clasp (1)

£70-100

First item: Hannavy, Case Histories, p. 23. (3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£100-150

102

£100-150


328* Sixth-plate daguerreotype of a seated lady holding a cased daguerreotype, by Richard Beard, Royal Polytechnic Institution, late 1840s, some tarnish to extremities, ‘Beard Patentee’ label inside the case signed in ink ‘Rich’d Beard’ [suggesting that the image may have been taken by Beard himself], plain wood and leather case, a little corner fraying, together with a sixth-plate daguerreotype of a seated elderly lady, by Beard’s Photographic Institution, early 1850s, marginal tarnishing, wood and leather case with gilt stamp bearing the address of 85 King William Street, 34 Parliament Street, Royal Polytechnic Institution, London, and 34 Church Street, Liverpool Hannavy, Case Histories, pp. 21 & 13. (2)

330* Sixth-plate daguerreotype of a seated woman by Jeremiah Gurney, 349 Broadway, New York, mid 1850s, housed in a thermoplastic union case with ‘Angel with Cornucopia’ to obverse and geometric design to reverse, sharp edges and corners, tight closure Berg 1-84 (obverse) & 3-82 (reverse). (1)

£150-200

£150-200

331* Sixth-plate daguerreotype portrait of a woman, c.1850, some tarnishing to extremities and two streaks to lower part of image near hands, glass replaced, inlaid into an embossed leather wallet with embroidered floral interior panel containing an unused moire silk-covered notebook inscribed ‘To Alexander Douglas from his mother, May 10 1851’, the closure an ivory-shafted lead pencil, overall 12 x 8cm Hannavy, Case Histories, p. 13. A most unusual item. (1)

329* Sixth-plate daguerreotype of a young man seated outdoors next to railings, by an unknown photographer, late 1840s or early 1850s, purple velvet interior, green leather top-hinged case with green paper base Hannavy, Case Histories, p. 35: ‘The image is believed to be British, and the location may be outside the traditional glass house studio on the roof of a building’. (1) £200-300

103

£150-200


334* Sixth-plate tinted ambrotype of a woman, by E. Eccles, artist, Agur Street, Bury, [Lancashire], 1860s, gilt highlights, the background overpainted in deep purple/brown, the tablecloth and the subject’s scarf picked out in reds, brown velvet pad and trim, set in a brown leather Eichmeyer case with photographer’s gilt embossed details to base, together with a fine quarter-plate ambrotype of a young woman by E. Wade, 117 Fishergate, Preston, [Lancashire], 1860s, gilt highlights, leather case with photographer’s gilt embossed logo on base

332* Sixth-plate daguerreotype of a seated young man by an unknown photographer, early 1850s, some heavy spotting around upper edge, contained in a very rare painted, gilded and lacquered case with floral design including inlaid mother-of-pearl, clasp broken, corners chipped and small loss at head of leather spine, overall 10 x 9cm Hannavy, Case Histories, p. 63. (1)

First item: Hannavy, Case Histories, p. 82. (2)

£100-150

£100-150

335* Stereoscopic Ambrotype. Building the Great Western Railway’s branchline to Watchet, by James Date, dated August 1861, mounted with hand-cut paper overlay, captioned in pencil, ‘Taken at Rack Close’ and numbered ‘74’ The railway line opened the following Spring. (1)

333* Sixth-plate tinted ambrotype of a woman seated by a table, by George Coulder, 1850s, gilt highlights, leather case with photographer’s gilt stamp on base, ‘G. Coulder, Artist, Scarborough’, together with a sixth-plate ambrotype of a young man, by Mawson, Newcastle, 1850s, in leather case with photographer’s gilt stamp on base, plus a sixth-plate ambrotype of an elderly gentleman with his wife and daughter by a table, by W.W. Law, 1850s, in leather case with photographer’s stamp on base bearing the address 49 Gold Street, Northampton Hannavy, Case Histories, pp. 83 & 142 (first and third items). (3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£200-300

104

£100-150


337* Stereoscopic Ambrotypes. The Rebuilding of Watchet Harbour, Somerset, after the Great Storm in 1861, by James Date, dated July 1861 (3) and September 1861 (1), mounted with hand-cut paper overlays, numbered in pencil to versos 1, 3, 57, and fourth unnumbered (4)

£200-300

338* Stereoscopic Daguerreotype. Exposition Universelle, Paris, 1855, view of the interior of the main hall, a few spots Hannavy, Daguerreian Annual, 2005, pp. 2-26; this example is illustrated on page 2. Rare. (1) £1000-1500

336* Stereoscopic Ambrotypes. A pair of stereoscopic ambrotypes of statuary in the Crystal Palace, Sydenham, c.1860, possibly by Negretti & Zambra, one of a full length seated young woman against a black background, the other in a garden setting showing 157. Greek Slave by G. Rossetti of Milan and 94. The Chase (2)

£150-200

Lot 338

105


Lot 339

339* Stereoscopic Daguerreotypes. A pair of stereoscopic daguerreotypes of ladies by Antoine Claudet (1797-1867), early 1850s, both tinted and one with gilt highlights, one a little tarnished to lower and right margins, one with some oxidation to margins, both with original seals and printed labels to verso including photographer’s details, skilfully re-taped, contained in a velvetlined leather and wood presentation case with embossed royal coat of arms to lid, leather largely missing from edges but present on lid and base, one hinge lacking tacks, overall 10 x 19 x 3cm The backing label gives Claudet’s address as 107 Regent Street, an address he occupied from 1852 until 1858. Hannavy, Case Histories, pp. 26-27. (3) £600-800

340* Three ambrotype portraits by Duchauffour & McIntyre, Edinburgh, late 1850s, the first a quarter-plate image of a seated gentleman in a plain leather case, the other two tinted ninth-plate ambrotypes, one of a girl, three-quarter length, the other of the same girl with her parents, embossed leather cases with floral designs, all three cases with photographers’ gilt embossed stamp to base giving the address as 33 Whitefield Place, Leith Walk, Edinburgh This studio was at this address from 1855 until 1865. Hannavy, Case Histories, p. 86. (3) £100-150

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

106


343* Two sixth-plate daguerreotypes of seated ladies by an unknown photographer, late 1850s, housed in a mother-of-pearl inlaid and papier mache case in book form with gilt-decorated spine and title ‘Memorial’, all edges gilt and gilt clasp, a little nicked at head and foot of spine, overall 10 x 9cm

341* Three sixth-plate ambrotypes by Wayne & Rothwell, Douglas, Isle of Man, c.1860, two fine tinted portraits of a seated man and a seated woman in oval mats, plus one further fine ambrotype of a young man leaning on a short pillar, photographers’ trade roundel inside case behind image, ‘Wayne & Rothwell, Artists, Douglas’, embossed leather cases, two with clasps and one push button Hannavy, Case Histories, pp. 48-49. (3)

(1)

£100-150

£200-300

344* Two sixth-plate daguerreotypes of a husband and wife, by Nathaniel C. Jaquith, 167 Broadway, New York, 1850s, tinted, a little tarnished to extremities, housed in a thermoplastic union case with scarce ‘Bobby Shafto’ motif by A.P. Critchlow, sharp edges and corners Berg 1-65; Hannavy, Case Histories, pp. 84 & 103. (1)

£200-300

342* Two ninth-plate ambrotypes of children, by William Henry Franklin, c.1860, in leather cases embossed with the photographer’s stamp ‘W.H. Franklin, 173 Lower Street, Deal, [Kent]’, together with a rare ‘Jenny Lind’ sixth-plate leather case, listed in Berg as 4-52, with Berg 4-56 ‘Birds’ motif on the back, containing a low quality ambrotype of a woman and child with gilt highlights, plus a sixth-plate ambrotype of a mother and two daughters, 1850s, in a gilded wooden frame Hannavy, Case Histories, p. 64 (case of third item). (4)

345* Silvy (Camille, 1834-1910). A small album containing 12 window-mounted cartes-de-visite portraits by Camille Silvy, early 1860s, one tinted, plus one further Silvy portrait in pocket at front, embossed leather, small 8vo (12.5 x 9cm), together with a Victorian desk frame, c.1860s, containing four tinted cartes de visite portraits, including two by John Moffat of 103 Princes Street, Edinburgh, one by James Bowman of 65 Jamaica Street, Glasgow, and one by S. Hoggard of Goatham, Redcar, Yorkshire, oval apertures, embossed and gilt-ruled leather, folding concertinastyle, 12.5 x 31cm (fully opened)

£100-150

Second item: Hannavy, Case Histories, p. 91. (2)

107

£100-150


THERMOPLASTIC UNION CASES

346* The Landing of Columbus. Rare whole plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1858, housing a hand-coloured and gilded ambrotype of a seated lady by a table with a vase of flowers, sharp corners and edges, clicks shut, 239 x 187mm Berg 1-1; Krainik 1; Hannavy, Case Histories, pp. 78 & 94. One of only three known whole plate Union case designs. A sensationally well-preserved example. (1) ÂŁ1500-2000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

108


347* The Washington Monument with Seraphs and Eagles. A halfplate brown thermoplastic union case by Samuel Peck & Co., c.1858, housing a tinted and gilded ambrotype portrait of a mother and baby daughter seated at a table, velvet pad partly perished, reverse with geometric design, sharp corners and edges Berg 1-3S (obverse) & 1-7 (reverse); Krainik 4. (1)

£500-800

349* The Vision of Ezekiel. Very rare half-plate black thermoplastic union case by Holmes, Booth & Haydens, c.1856, without image or pad, upper hinge missing rivet and now loose, small chips to two corners of upper lid Berg 1-9; Krainik 11. (1)

£500-800

348* The Holy Family. Very rare half-plate brown thermoplastic union case by Holmes, Booth & Haydens, c.1860, housing an albumen cabinet print of a woman, some slight roughening of edges and fasteners not clicking shut, 156 x 125mm Berg 1-8. (1)

£250-350

350* Wedding Procession. Half-plate black thermoplastic union case by Littlefield, Parsons & Co., c.1860, housing an albumen photograph of a bearded man, sharp corners and edges, very slight give to upper hinge, clicks tight Berg 1-10; Krainik 10. (1)

109

£350-450


351* American Country Life 1. Rare half-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1858, housing a hand-tinted and gilded ambrotype portrait of a young couple, diagonal scratch, minor give to upper hinge, sharp edges, little nicks to several corners, clicks tight Berg 1-11 (obverse) & 3-4 (reverse); Krainik 9. (1)

£300-400

353* Mother Embracing Child 1. Double sixth-plate black thermoplastic union case by A.P. Critchlow, c.1858, housing three ambrotypes of a mother and two children, fourth compartment empty, one mat stamped ‘J.T. Upson, Buffalo, NY’

352* American Country Life 2. Rare half-plate brown thermoplastic union case by A.P. Critchlow, c.1858, case empty and lacking pad, minor edge and corner rubbing, fasteners a little loose Berg 1-12; Krainik 8. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

Berg 1-13; Krainik 90 (titled ‘The Faithful Hound’), and giving the casemaker as Littlefield, Parsons & Co. (1) £100-150

£200-300

110


355* Flower Girl. Rare double sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1858, housing a pair of ambrotypes of a lady and gentleman, sharp corners and edges, chip to upper fastener, closure very stiff Berg 1-15; Krainik 91. (1)

£150-200

354* Mother Embracing Child 2. Double sixth-plate brown thermoplastic union case by A.P. Critchlow, c.1858, housing two pairs of daguerreotype and ambrotype portraits of a middle-aged couple, sharp edges and corners, clicks tight Berg 1-14; Krainik 89 (titled ‘The Faithful Hound’) and giving the casemaker as Littlefield, Parsons & Co. (1) £250-350

356* Two Lovers Going to the Well. Very rare composite plate black thermoplastic union case, c.1856, the base with two sixthplate compartments, embossed velvet pad to upper lid, a few minor edge nicks, 144 x 105mm Berg 1-16 (noting that these cases are always partitioned to receive two one-ninth plate or three one-sixteenth plate images, very rarely the cases found partitioned on both sides); Krainik 33. (1) £300-400

111


357* The Washington Monument, Richmond, Virginia. Quarterplate brown thermoplastic union case by Samuel Peck or Scovill, c.1858, housing a tinted ambrotype of a seated gentleman, a little give to upper hinge, sharp edges and corners, clicks tight, 125 x 102mm Berg 1-17S (obverse) & 3-16 (reverse); Krainik 21. (1)

£200-300

360* The Capture of Major André. Quarter-plate brown thermoplastic union case by Samuel Peck & Co., before 1857, housing a tinted ambrotype of a seated gentleman, a little looseness to lower hinge, a little minor edge rubbing and one corner nicked, closure a little warped

358* Crossed Cannons and the Liberty Cap. Half-plate brown thermoplastic union case by Scovill Manufacturing Co., after 1858, housing and ambrotype of a gentleman, rounded corners, fasteners a little loose Berg 1-18; Krainik 25. (1)

Berg 1-22; Krainik 18. (1)

£150-200

£150-250

361* General Marion’s Invitation to Dinner. Quarter-plate black thermoplastic union case by Littlefield, Parsons & Co., c.1858, housing an ambrotype of a seated lady Berg 1-23. (1)

359* The Capture of Major André. Quarter-plate brown thermoplastic union case by Samuel Peck & Co., before 1857, housing a tinted and gilded ambrotype of a seated lady with a book, small chip to lower edge, geometric design to reverse, together with a slightly darker duplicate of the same case with no photograph, some chips to edges and corners, closure distressed Berg 1-22 (obverse) & 3-17 (reverse) - very rare; Krainik 18. (2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£200-300

112

£150-250


362* General Marion’s Invitation to Dinner. Very rare octagonal quarter-plate black thermoplastic union case by Littlefield, Parsons & Co., c.1858, housing a gilded ambrotype of a seated lady in a long dress, chip to lower fastener, one or two small corner nicks, together with a rectangular version of the same case, housing an ambrotype of a seated gentleman, slight edge and corner wear, closure not straight Berg 1-24, 1-23; Krainik 17 (The Sweet Potato Dinner). (2)

364* Sir Henry Havelock. Rare quarter-plate brown thermoplastic union case by Littlefield, Parsons & Co., early 1860s, housing a tinted albumen print portrait of Harrington James Muston, geometric design to reverse, straight edges and corners, very minor nicks, clicks tight

£200-300

Berg 1-27S (obverse) & 3-31 (reverse); Krainik 24. (1)

£100-150

363* The Indian Monument, Havana, Cuba. Rare quarter-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1857, housing a tinted tintype of a seated lady, reverse with different design (as always), sharp edges and corners Berg 1-25 (obverse) & 1-26 (reverse); Krainik 22 & 23. (1)

£150-200

365* The Parting of Hinda and Hafed. Quarter-plate brown thermoplastic union case by Holmes, Booth & Haydens, before 1858, no image, straight edges and corners, clicks tight Berg 1-29S; Krainik 35. (1)

113

£350-450


368 Alone at the Rendezvous. Quarter-plate black thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a gilded ambrotype of two ladies, one standing and one seated, sharp edges and corners, clicks shut Berg 1-35; Krainik 31. (1)

366* The Parting of Hinda and Hafed. Rare quarter-plate brown thermoplastic union case by Holmes, Booth & Haydens, before 1858, housing an ambrotype of a seated gentleman by J. Urie, Glasgow, edges and rounded corners in good condition, one little nick to lower edge of reverse, fasteners not closing Berg 1-29R; Krainik 35. (1)

369* Lady with Falcon 1. Quarter-plate black thermoplastic union case by Littlefield, Parsons & Co., c.1856, housing a tinted ambrotype of a seated couple, lower edges roughened, a few small chips and nicks, together with quarter-plate brown thermoplastic union case by A.P. Critchlow & Co., before 1858, with differing scrollwork design, housing a tinted and gilded ambrotype portrait of a seated gentleman, a few slight nicks and chips

£350-450

Berg 1-36 & 1-38; Krainik 32 & 29 respectively. (3)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£100-150

370* Sir Roger de Coverly with the Gypsies. Quarter-plate black thermoplastic union case by Samuel Peck & Co., circa 1858, housing an ambrotype of a three-quarter length seated portrait of Lydia Moore, daughter of George and Nancy Moore, top left lower corner chipped

367* Harvest Motif. Quarter-plate black thermoplastic union case by Scovill Manufacturing Co., late 1850s, housing a hand-coloured portrait of a lady next to an urn with flowers, two tiny corner nicks, clicks shut Berg 1-34; Krainik 26 (Agrarian Motif). (1)

£100-150

Berg 1-37. (1)

£100-150

114

£100-150


371* Sir Roger de Coverly & Gypsies. Quarter-plate brown thermoplastic union case by A.P. Critchlow, before 1858, housing a tinted and gilded ambrotype of a seated bearded man, edge and two corner chips to upper lid and corner nick to lower lid Berg 1-38. (1)

£100-150

374* Lyre in Wide Portal 1. Very rare quarter-plate brown thermoplastic union case by Samuel Peck & Co., c.1858, housing an ambrotype portrait of a seated gentleman with beard, two tiny corner nicks, otherwise sharp edges and corners, snaps shut

372* The Dance 1. Quarter-plate brown thermoplastic union case by Samuel Peck & Co., before 1857, housing a tinted ambrotype portrait of two young girls, small nick to one corner Berg 1-39; Krainik 34 (Money Musk). (1)

Berg 1-44; Krainik 44 (The Memorial). (1)

375* Lyre in Wide Portal 2. Quarter-plate black thermoplastic union case by Samuel Peck & Co., c.1858, housing a full-length ambrotype portrait of a lady seated at a table with a book, the reverse with ‘The Lord’s Prayer’ design, one corner of reverse chipped and two corners nicked, elsewhere edges a little rubbed, snaps shut

373* Family Enjoying the Piano 2. Quarter-plate brown thermoplastic union case by Patent American, late 1850s, housing an ambrotype of a seated couple with their small boy, some edge and corner nicks and chips, snaps shut, together with a second example of the same case containing an ambrotype of a middleaged couple, two small corner nicks, closure slightly loose Berg 1-41; Krainik 37 (The Music Lesson). (2)

£300-400

£100-150

Berg 1-45 (with engraver’s name R. Paine to the right of the base of the lyre) & 1-33 (reverse); Krainik 44 & 41. (1) £100-150

£100-150

115


378* A Family Party. Double ninth-plate brown thermoplastic union case by A.P. Critchlow & Co., before 1857, housing ambrotypes of a young girl and her mother, reverse with rare geometric design, sharp corners and edges, snaps shut, 118 x 75mm 1-49 (obverse) & 3-592 (reverse); Krainik 559 & 560 (obverse). (1) £250-350

376* Horse Racing. Very rare quarter-plate octagonal black thermoplastic union case by Samuel Peck & Co., before 1857, housing a gilded ambrotype portrait of a seated lady with a book, a few nicks, chips and hairline splits, plus a small rough area from production flaw in blank border beneath main design of obverse, closure loose Berg 1-46; Krainik 86 (The Horse Race). (1)

£300-400

379* Shield, Cannons and Flags. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing an ambrotype portrait of a seated man, reverse with geometric design, edges slightly rubbed and one corner chipped, together with Union and Constitution. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a gilded half-length ambrotype portrait of Amos Holden in band uniform, the reverse with ‘Hatching the Egg’ design, slightly nicked to lower edge of reverse, snaps shut, plus Shield with Stars in Stripes. Sixth-plate brown thermoplastic union case by A.P. Critchlow & Co., c.1860, housing an ambrotype portrait of a seated man, two small corner nicks, snaps shut, plus Eagle and Flag. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1862, housing a three-quarter length ambrotype portrait of a young man seated at a table, the reverse with geometric design, sharp edges and rounded corners, snaps shut

377* Children Playing with Toys. Double ninth-plate black thermoplastic union case by Littlefield, Parsons & Co., before 1857, housing ambrotypes of a seated young boy in a straw boater and a young man with a peaked cap, short hairline split near one fastener Berg 1-48. (1)

£100-150

Berg 1-50 (obverse) & 3-163 (reverse), 1-51 (obverse) & 2-64 (reverse), 1-53 (obverse), 1-55 (obverse) & 3-188 (reverse); Krainik 109 (obverse), 110 (obverse) & 168 (reverse), 115, 111 (obverse) & 270 (reverse). (4) £200-300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

116


382* The Indian Monument, Havana, Cuba. Rare sixth-plate black thermoplastic union case by Littlefield, Parsons & Co., c.1860, housing a half-length tintype portrait of a young man, reverse with an alternative design, corners nicked and one edge chip, chipped near fastener, shuts tight Berg 1-60 (obverse) & 1-61 (reverse); Krainik 126 & 127. (1)

£100-150

380* USS Monitor and the Fort. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1860, housing two tinted and gilded sixth-plate ambrotypes, one of a young man with bow tie, the other of a girl and her younger sister, corner nick, a little edge rubbing and two short hairline splits near hinges, fastener stiff Berg 1-58; Krainik 99. (1)

£150-200

383* Sir Henry Havelock. Rare sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1860, housing an ambrotype portrait of a seated young boy by J. Timms of 31 High Holborn, London, reverse with geometric design, sharp edges and corners, clicks shut Berg 1-64 (obverse) & 3-81 (reverse); 125 & 244. (1)

381* The Clipper Ship & The Fort. Scarce sixth-plate black thermoplastic union case by Littlefield, Parsons & Co., c.1860, housing a tinted and gilded ambrotype portrait of a seated lady, sharp edges and corners, fastener a little tight Berg 1-59; Krainik 100. (1)

£100-150

117

£70-100


386* Profile of George Washington. A rare sixth-plate black thermoplastic union case by A.P. Critchlow & Co., before 1857, housing an ambrotype of a bearded man, Critchlow’s printed paper label inside lid, closure a little loose Berg 1-72; Krainik 103. (1)

£100-150

387* Washington Medallion, Four Stars. Rare sixth-plate brown thermoplastic union case by Samuel Peck & Co., before 1858, housing a tinted ambrotype of a man seated at a table with flowers, edges a little rubbed Berg 1-73; Krainik 102. (1)

384* Liberty, Stars in Corners. Very, very rare sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a pair of sixth-plate ambrotypes of a husband and wife, two long cracks to glass protecting woman’s portrait, variant design of Liberty 1 to obverse, some nicks and chips to edges of lid and two small chips to outer border of reverse, together with Liberty 2. Sixth-plate black thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a tinted ambrotype portrait of a seated boy, a little give to upper hinge, one corner nicked, closure not functioning

£150-200

Berg 1-68 (obverse) & 1-66 (reverse), 1-67S; Krainik 108 (obverse) & 106 (reverse), 107. (2) £100-150

388* Voyage of Life - The Family. A very, very rare sixth-plate black thermoplastic union case by an unknown casemaker, c.1860, housing a tinted and gilded ambrotype of a seated boy with cap and girl with arm on his shoulder, lower hinge a little loose, tiny nick near catch and catch not working Berg 1-79; Krainik 151. (1)

£100-150

385* Ten Dollar Gold Coin. A very rare sixth-plate black thermoplastic union case by Peck & Halvorson, before 1857, housing a fine daguerreotype of a man with top hat and bow tie, a little tarnished to margins at top and bottom, two corners chipped, one edge chipped, two hairline cracks, centre of obverse and reverse with inset replica of the reverse of the United States tendollar gold piece Berg 1-70G; Krainik 165. (1)

£100-150

389* Voyage of Life - Old Age. A very, very rare sixth-plate brown thermoplastic union case by an unknown case manufacturer, c.1860, housing an ambrotype of a seated man with blue tinted bow tie and gilt ring, all four lower corners chipped, one chip to inner corner and fastener not working Berg 1-80; Krainik 152. (1)

Lots 386 and 387

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

118

£100-150


393* Rebekah at the Well. Sixth-plate black thermoplastic union case by Samuel Peck & Co., before 1857, housing a portrait of a seated couple, tinted pink cheeks and gilt jewellery, one small corner chip Berg 1-85; Krainik 155. (4)

£100-150

394* Stained Glass Window. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing an albumen print portrait of a couple with their two children Berg 1-86; Krainik 158. (1)

£50-80

390* Profile of learned man. Sixth-plate light brown thermoplastic union case by Samuel Peck & Co., before 1857, housing an ambrotype portrait of a seated man, gilt chain and rings, a few little corner and edge nicks, fastener not workingBerg 1-81; Krainik 156. (1)

£100-150

Lots 395 and 397 395* Masonic Emblem. Rare sixth-plate black thermoplastic union case by Samuel Peck & Co., late 1850s, housing an ambrotype of a seated woman with a book, a couple of edge and corner nicks Berg 1-87; Krainik 159. (1)

£100-150

391* Cupid and the Stag. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1857, housing a tinted ambrotype of a seated lady, rounded corners, one corner nicked Berg 1-83R; Krainik 153. (1)

£100-150

392* Cupid and the Stag. Sixth-plate brown thermoplastic union cases by Littlefield, Parsons & Co., c.1857, housing an ambrotype of a seated couple, sharp edges and corners Berg 1-83S; Krainik 153. (1)

396* Angel in a Chariot. Very rare sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a tinted and gilded daguerreotype of a seated lady with legend ‘Property of Seeley E. Mensch, Marshall, Mich. Please forward to Marshall, Michigan if found’ inserted beneath image, octagonal case, a few edge chips and nicks

£100-150

Berg 1-88; Krainik 339. (1)

£300-400

397* Harvest Motif. Sixth-plate black thermoplastic union case by Scovill Manufacturing Co., housing an ambrotype of a seated young man with his bowler hat on the table, rounded corners, chip to upper edge of obverse Berg 1-89; Krainik 124. (1)

Lots 393 and 394

119

£100-150


398* Beehive, Farm Motif 1. Sixth-plate black thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing two sixthplate ambrotypes of a man with a beard and his wife (gilt brooch), one tiny corner nick and hairline crack near fastener, together with Beehive, Farm Motif 3, brown case by Littlefield, Parsons & Co., late 1850s, housing an ambrotype of a bearded man, pillars mat, sharp edges and corners

401* The Fire Chief. Rare sixth-plate black thermoplastic union case by Littlefield, Parsons & Co., c.1858, housing two sixth-plate ambrotypes of a seated mother in one, her husband and young daughter seated in the other, a little minor edge rubbing

Berg 1-90, 1-92; Krainik 121, 123. (2)

Berg 1-95; Krainik 116. (1)

£150-200

£100-150

Lots 399 and 400

Lots 402 and 403

399* Child in Tree, Farm Scene. Black thermoplastic union case by A.P. Critchlow & Co., c.1858, housing an ambrotype of a young man, tarnishing and oxidation, a few corner nicks

402* Fireman Saving Child. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1858, housing an ambrotype of a seated elderly man with walking stick, a little corner and edge rubbing, one corner nicked

Berg 1-93; Krainik 138. (1)

£100-150

Berg 1-96; Krainik 118. (1)

400* Hunter with Kill 1. Black thermoplastic union case by Littlefield, Parsons & Co., mid 1850s, housing a daguerreotype of a young man, small hairline split near fastener Berg 1-94; Krainik 131. (1)

£100-150

403* Fireman Saving Child. Sixth-plate thermoplastic union case by Littlefield, Parsons & Co., c.1858, housing an ambrotype of a young man with one hand on hip, tinted background, one corner a little rubbed

£200-300

Berg 1-97; Krainik 117. (1)

£100-150

404* Mother Embracing Child 1. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1860, housing a landscape-format tintype of an older couple, one chip to top of lower edge Berg 1-98; Krainik 142. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

120

£100-150


Lot 406

Lot 407

Lot 408

408* See Saw, Marjorie Daw. Very rare sixth-plate brown thermoplastic union case by Holmes, Booth & Haydens, c.1860, case empty but casemaker’s printed paper label present, chip near fastener Berg 1-107; Krainik 136. (1)

£250-350

405* Mother Embracing Child 2. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1858, two cases, one housing a tinted ambrotype of a seated naval cadet in front of a painting and one case empty, alternative geometric designs to bases, empty case with broken fastener Berg 1-99 (x2); Krainik 141 (x2). (2)

£100-150

406* Stealing the Bird’s Eggs. Rare sixth-plate black thermoplastic union case by Samuel Peck & Co., late 1850s, housing a threequarter length ambrotype portrait of a seated gentleman, cheeks tinted pink, missing rivets connecting lid with lower hinge, long shallow chip at top of lower fore-edge Berg 1-102; Krainik 139. (1)

409* Teasing Her Dog. Very rare sixth-plate brown thermoplastic union case by Wadham’s Manfacturing Co., before 1857, housing a tinted and gilded ambrotype of a seated lady in full dress, fastener a little loose Berg 1-110; Krainik 137. (1)

£150-200

407* The Calmady Children. Sixth-plate black thermoplastic union case by Samuel Peck & Co., before 1857, housing a threequarter length ambrotype portrait of a seated young man with tinted pink cheeks and gilt jewellery, small chip to one corner of obverse and reverse with design of bunches of grapes in an ovalBerg 1-104 (obverse) & 2-23 (reverse); Krainik 129 (obverse) & 1-84 (reverse). (1)

£50-80

121

£150-200


Lots 410, 411 and 412

413* The Daguerrian Gallery. Very rare sixth-plate gilded black thermoplastic union case by Samuel Peck & Co., before 1857, with no image, two rivets connecting hinges to lid missing, one corner nick

410* Lady with Falcon 2. Rare sixth-plate black thermoplastic union case by Samuel Peck & Co., before 1857, housing an ambrotype of a seated man, a little scattered tarnishing to margins, lower hinge loose £150-200

Berg 1-118G; Krainik 119: ‘Peck produced some examples of The Daguerrian Gallery with a completely gilded surface. These cases are very rare. (1) £150-200

411* The Deer and the Pine Tree. Sixth-plate black thermoplastic union case by Samuel Peck & Co., before 1857, housing an ambrotype of a seated young man, tinted pink cheeks, one chip to lower edge

414* Family Enjoying the Piano 2. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing an ambrotype of a lady with tinted pink cheeks, the reverse a very, very rare geometric design, a couple of small corner nicks

Berg 1-116; Krainik 167. (1)

Berg 1-120 (obverse) & 3-196 (reverse); Krainik 145 (obverse) & not found (reverse). (1) £80-120

Berg 1-113; Krainik 132. (1)

£70-100

412* The Daguerrian Gallery. Rare sixth-plate brown thermoplastic union case by Samuel Peck & Co., before 1857, housing a daguerreotype of a seated and bearded man, a little tinting and gilding, small fill in repair near fastener Berg 1-118; Krainik 119. (1)

£100-150

415* A Game of Chess. Octagonal sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1860, housing a pair of sixth-plate daguerreotypes, the first of a man and wife seated, the other of their young daughter, full length, some marginal tarnish and oxidation, reverse with rare geometric design Berg 1-122 (obverse) & 3-215 (reverse); Krainik 338 (obverse) & 352 (reverse). (1) £100-150

Lot 413

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

122


416* A Game of Chess 1. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., mid 1850s, housing a daguerreotype of a seated gentleman, some oxidation spots, edges a little rubbed and fastener slightly loose Berg 1-123; Krainik 134. (1)

£150-200

417* Country Home. Very rare sixth-plate brown thermoplastic union case by Kinsley & Parker, c.1860, housing an ambrotype of a middle-aged couple, mat with details of photographer, ‘Chas. E. Hawes, Bedford’ Berg 1-126; Krainik 120. (1)

Berg 1-132 & 1-133. (2)

421* The Genius of Poetry with Her Celestial Pen. Very, very rare ninth-plate brown thermoplastic union case, c.1860, case empty Berg 1-137. (1)

£200-300

£250-300

£250-350

418* Union Forever. Scarce ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c.1859, housing a threequarter length tinted and gilded ambrotype portrait of a young man, together with Union Constitution, ninthplate thermoplastic union case by Littlefield, Parsons & Co., c.1859, housing a tinted and gilded ambrotype portrait of a seated young child, plus Constitution & the Laws, ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c.1859, housing a tinted and gilded ambrotype portrait of a young lady Berg 1-128, 1-129 & 1-131. (3)

419* The Monitor at the Fort. Scarce ninth-plate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a tintype portrait of a woman with her arms folded, together with The Ship’s Stern, scarce ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c.1859, housing a daguerreotype head and shoulders portrait of a lady with long hair and ribbons

420* The Charter Oak. Very rare ninthplate thermoplastic union case by Wadhams Manufacturing Co., c.1858, housing two ambrotpes of a man and a woman, tinted Berg 1-135. (1)

£200-300

£250-350

123

422* Angel with Bird in Rose. Rare ninthplate brown thermoplastic union case by Samuel Peck & Co., before 1857, housing a tinted ambrotype of a boy seated at a table, together with Angel with Flower Cornucopia, scarce ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c.1859, housing an ambrotype of a seated child, plus Aurora with the Genius of Light, scarce ninthplate thermoplastic union case by Samuel Peck & Co., before 1857, housing an ambrotype portrait of a seated young man Berg 1-139, 1-141, 1-142 (3)

£200-300


424* Scythe and Grain. Scarce ninthplate black thermoplastic union case by Littlefield, Parsons & Co., c.1860, housing an ambrotype of a man with a cap, signed ‘C.W. Crocker to my mother’, together with Mary & Her Little Lamb, ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c.1861, housing an ambrotype and tintype of the same young man, plus Mary & Her Little Lamb, ninthplate thermoplastic union case by Littlefield, Parsons & Co., c.1861, housing a tinted and gilded ambrotype of a seated gentleman Berg 1-149, 1-156 & 1-157. (3)

423* Angel Scattering Roses (Day, Aurora with the Genius of Light). Scarce ninthplate brown thermoplastic union case by Samuel Peck & Co., before 1857, housing an ambrotype portrait of a seated lady, together with Church Window, ninth-plate thermoplastic union case by A.P. Critchlow & Co., before 1858, housing a tinted ambrotype of a lady with a bonnet/hood, plus Harvest Motif, ninthplate thermoplastic union case by Scovill Manfacturing Co., early 1860s, housing an ambrotype portrait of a seated young man, some flaking and damage, and Beehive, Corn & Farm Implements, ninthplate thermoplastic union case by Littlefield, Parsons & Co., c.1859, housing a daguerreotype of a lady against drapes, and Beehive, Corn & Farm Implements, ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c.1860, housing an ambrotype of a Lance Corporal against a landscape background

£200-300

427* Catching Butterflies. Ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c.1861, housing an ambrotype of a woman seated with open book, images dated 1863, together with The Chess Players, ninth-plate thermoplastic union case by Littlefield, Parsons & Co., late 1850s, plus The Chess Players (octagonal), ninth-plate thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing an ambrotype portrait of a gentleman, and Moses in the Bullrushes 1, scarce ninthplate thermoplastic union case by Littlefield, Parsons & Co., c.1858, case empty Berg 1-158, 1-162, 1-163 & 1-169. (4)

£70-100

425* The Elopement. Rare ninth-plate black thermoplastic union case by Wadhams Manufacturing Co., c.1857, housing an ambrotype of a woman Berg 1-153. (1)

£150-200

Berg 1-143, 1-145, 1-146, 1-147 & 1-148R. (5) £250-350

428* Boy Playing with His Rabbit. Very rare ninth-plate brown thermoplastic union case by Wadhams Manufacturing Co., c.1860, housing two ambrotypes, one of two women and the other of three men (brothers & sisters?) Berg 1-159. (1)

Lot 424

426* The Ballerina. Rare ninth-plate thermoplastic union case by Holmes, Booth & Haydens, c.1858, case empty Berg 1-154. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£100-150

124

£150-200


429* The Blind Beggar. Very rare ninthplate black thermoplastic union case by Littlefield, Parsons & Co., c.1859, housing a tinted and gilded ambrotype portrait of a seated lady, small edge nick, catch weak Berg 1-161. (1)

£100-150

432* Moses in the Bullrushes 2. Scarce ninth-plate brown oval thermoplastic union case by Littlefield, Parsons & Co., c.1858, housing an ambrotype of a woman with bonnet, together with Catching Butterflies, ninth-plate thermoplastic union case by Littlefield, Parsons & Co., c.1860s, plus Catching Butterflies, scarce ninth-plate thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing a tintype of a seated young gentleman Berg 1-170, 1-171 & 1-172. (3)

434* American Gothic. Scarce ninthplate brown thermoplastic union case by Littlefield, Parsons & Co., c.1858, housing an ambrotype of a bearded gentleman Berg 1-191. (1)

£100-150

£150-200

430* Children with Toys. Rare sixteenthplate brown thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing an ambrotype of a man and three children Berg 1-165. (1)

£100-150

433* Children at the Fence. Sixteenthplate brown oval thermoplastic union case by Littlefield, Parsons & Co., late 1850s, housing an ambrotype of a woman, image darkened, together with The Sleeping Friar, thermoplastic union case by Littlefield, Parsons & Co., c.1860, plus The Sleeping Friar, thermoplastic union case by Littlefield, Parsons & Co., c.1860 Berg 1-175, 1-181 & 1-182. (3)

431* The Serenade. Very rare ninth-plate brown oval thermoplastic union case by A.P. Critchlow, c.1858, housing an albumen print portrait of a man with hat Berg 1-167. (1)

£100-150

125

£150-200

435* Thistles, Shamrocks & Roses. Very, very rare brown 12.5 x 10cm thermoplastic union case by Samuel Peck & Co., before 1857, housing an ambrotype of an unknown gentleman seated at table wearing fashionable waistcoat, hinges a little loose Berg 2-1. (1)

£80-120


436* Bowl of Flowers. Double sixth-plate black thermoplastic union case by Littlefield, Parsons & Co., late 1850s, containing a pair of ambrotypes of the same man Berg 2-3. (1)

441* Flowered Plant. Very, very rare sixth-plate black thermoplastic union case by an unknown casemaker, late 1850s, housing a daguerreotype of a bearded gentleman, missing hinge and other hinge detached

£150-200

Berg 2-44. (1)

437* Basket of fruits and vegetables. A quarter-plate black thermoplastic union case by Holmes, Booth & Haydens, c.1860, housing an ambrotype of a woman, tinted with gilt highlights Berg 2-6. (1)

£150-20

439* Strawberries & Flowers. Rare sixthplate brown octagonal thermoplastic union case by Littlefield, Parsons & Co., 1857-1861, housing an ambrotype of a standing policeman (No. 222), Bullock & Co., Photographic Portrait Gallery, Royal Assembly Rooms, Bedford St, Leamington Spa Berg 2-17. (1)

£150-200

442* Tasting the Nectar 1. Sixth-plate brown thermoplastic union case by Samuel Peck & Co., c.1860, housing a tinted deathbed portrait of a child Berg 2-61. (1)

438* Lilies. Very rare quarter-plate brown thermoplastic union case by Samuel Peck & Co., c. 1858, housing an octagonal ambrotype of a husband & wife seated on chairs, the lady holding a union case, gilt highlights, catch slightly loose

440* Bouquet of Mixed Flowers. Rare sixth-plate black thermoplastic union case by an unknown casemaker (probably Peck), c. 1856, housing a daguerreotype of a man, fastener not shutting

Berg 2-12. (1)

Berg 2-43. (1)

£150-200

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£100-150

126

£80-120

£80-120

443* Shell. Rare sixth-plate black thermoplastic union case by Samuel Peck & Co., before 1857, housing an ambrotype portrait of a lady with a book, one edge chip, corner nick Berg 2-66. (1)

£100-150


446* Wild Flowers. Very rare double sixteenth-plate black thermoplastic union case by Samuel Peck & Co., c. 1860, case empty, a little roughness to edges Berg 2-107. (1)

£100-150

444* The Clam Shell. Rare sixth-plate black thermoplastic union case by Samuel Peck & Co., 1854-55, empty, very early Peck rubber stamped label, one hinge detached Berg 2-67. (1)

449* Unlisted variant scroll with cameo. Very, very rare quarter-plate black thermoplastic union case by Samuel Peck & Co., before 1860, no image

£150-200

Berg 3-25. (1)

£80-120

447* Geometric. Very rare quarter-plate black thermoplastic union case by Wadhams Manufacturing, c. 1860, housing an ambrotype of three young women Berg 3-18. (1)

£80-120

445* Belt and Buckle 2. Sixth-plate brown thermoplastic union case by Samuel Peck & Co., c.1860, housing a pair of ambrotypes, a mother and her son plus two daughters, chipped near fastener Berg 2-70. (1)

£100-150

450* Geometric. Quarter-plate brown thermoplastic union case by Peck & Halvorson, c.1860, housing a pair of ambrotypes of a man and his wife Berg 3-35. (1)

448* Scroll with Cameo. Very rare unlisted variant quarter-plate black thermoplastic union case by Samuel Peck & Co., c.1860, housing an ambrotype of a man, tinted and gilded, weak hinge, one edge chip Berg 3-25. (1)

£80-120

Lot 446

127

£100-150


451* Geometric Scroll. Rare sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., before 1857, housing a tinted and gilded ambrotype of an infantry bugler, few edge nicks and one corner nicks

453* Geometric/Scroll. Sixth-plate black thermoplastic union case by Holmes, Booth & Haydens, c.1860, housing a daguerreotype of a bearded young man, three corners chipped, fastener not catching

Berg 3-86. (1)

Berg 3-124. (1)

£150-200

454* Geometric/Scroll. Sixth-plate black thermoplastic union case by Peck & Halvorson, c.1858, housing a daguerreotype of a woman seated at a table, case with gilded central motif

452* Geometric with Simple Oval Centre. Sixth-plate brown thermoplastic union case by A.P. Critchlow, before 1858, containing a pair of sixth-plate daguerreotypes of Baltimore relatives of a family from Frome, Somerset, featuring a man and child and a woman and baby, a few edge and corner chips, fastener not catching Berg 3-95. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£80-120

Berg 3-125G. (1)

£100-150

128

£100-150


457* Octagonal Scrolls. Sixth-plate brown thermoplastic union case by Samuel Peck & Co., before 1857, housing a nice daguerreotype of a young woman in a pink dress, a little tarnishing to extremities, two chips to lower edges Berg 3-212. (1)

£70-100

455* Geometric/Scroll. Sixth-plate black thermoplastic union case by A.P. Critchlow & Co., c.1860, housing a daguerreotype of a serious looking lady and an ambrotype of a sulky boy, fastener not catching (1)

£70-100

458* Scroll/Geometric. Very rare double sweetheart brown thermoplastic union case by an unknown casemaker, 1860s, housing a pair of sixteenth-plate ambrotypes of a man and woman, semi-circular crack to upper lid Berg 3-451/3-452. (1)

£150-200

456* Geometric. Sixth-plate brown thermoplastic union case by Littlefield, Parsons & Co., c.1860, housing an ambrotype of a woman, tinted and gilded Berg 3-158. (1)

£100-150

459* Geometric. Rare sixth-plate brown octagonal thermoplastic union case by A.P. Critchlow & Co., c. 1860, housing an ambrotype of an unknown young married couple Berg 3-573. (1)

129

£70-100


UNION CASES OF JOHN SMITH OF BIRMINGHAM John Smith of Birmingham, England is the only British manufacturer of thermoplastic cases so far identified. He had started out as a manufacturer of ‘horn buttons’ – thermoplastic buttons – before moving in to photographic cases and frames. Working with Birmingham engravers Brookes & Adams, he produced a number of exceptionally well moulded cases in the early 1860s. 460* Morning (Day, Aurora with Genius of Light). Very, very rare quarter-plate thermoplastic union case by Smith’s Patent Improved Union Cases, before 1857, housing an ambrotype of an outdoor portrait of a seated girl Berg 1-30. (1)

£400-600

461* Morning-Day, Aurora with the Genius of Light 3. Very rare quarter-plate brown thermoplastic union case possibly by Samuel Peck, c.1860, housing a tinted ambrotype of a seated gentleman, a few tiny nicks to edges, clicks shut Berg 1-31; Krainik 39. A variant of Berg 1-30 & Krainik 40, this case with the small oval inscription ‘Smith/Patent/1860’ and the only instance known in which the patent date has been stamped into the plastic. (1) £300-400

463* Morning-Day, Aurora with the Genius of Light. Very, very rare quarter-plate brown thermoplastic union case by Smiths Patent Improved Union Case, before 1857, housing an outdoor ambrotype portrait of a seated girl, the words ‘Brookes & Adams Fect.’ stamped on the left side of the border below and to the left of the word ‘Morning’, sharp edges and corners, clicks shut Berg 1-185; a variant of 1-31 above. (1)

462* Amazon on Horseback Being Attacked by a Tiger. Very, very rare ninth-plate black thermoplastic union case by John Smith, c.1860, housing an ambrotype of a woman Berg 1-138. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£200-300

130

£300-400


464* Amazon on Horseback, Attacked by Tiger. Very, very rare ninth-plate brown thermoplastic union case by John Smith, c.1860?, housing an ambrotype portrait of a woman Berg 1-197. (1)

£200-300

466* Spray of Flowers. Very, very rare carte-de-visite size black thermoplastic union case by Smiths Improved Patent Union Case, 1866-67, housing a carte de visite of a seated lady and standing man, three corner nicks and upper hinge a little loose Berg 2-124. (1)

468* Bunches of Grapes in Circular Motif. Very, very rare ninth-plate brown thermoplastic union case by (Smith’s) Improved Patent Union Case, c. 1861, housing a finely tinted ambrotype threequarter length portrait of a seated young lady Berg 2-127. (1)

£100-150

£100-150

465* Scroll & acorn motif with acorn borders. Very rare sixth-plate brown thermoplastic union case by Smiths Patent Improved Union Case, 1860s, housing an ambrotype of a mother and child Berg 2-38. (1)

£100-150

467* Flowers in Oval. Very, very rare sixth-plate black thermoplastic union case by (Smiths) Improved Patent Union Case, c. 1860, housing a tinted and gilded ambrotype portrait of a lady Berg 2-126. (1)

£150-200

131

469* Leaves in oval with rose corners. Very, very rare ninth-plate brown thermoplastic union case by Smith’s Patent Improved Union Cases, c. 1860, housing a tintype showing two unknown men playing cards” Berg 2-128. (1)

£80-120


470* Geometric/Scroll. Very rare black thermoplastic union case by John Smith, c. 1860, case empty, few edge and corner nicks (one chipped) Berg 3-58. (1)

472* Diamond Cut Oval. Rare ninth-plate black thermoplastic union case by Smiths Patent Improved Union Case, c.1860, housing a tinted and gilded ambrotype portrait of a seated young lady, one hinge weak, some edge roughening and one small corner chip Berg 3-265. (1)

£120-150

£100-150

474* Geometric Scroll Pattern. Cartede-visite size brown thermoplastic union case by Smiths Improved Patent Union Case, c.1860, housing a carte de visite of a mother and small daughter sitting on a rocking horse Berg 3-572. (1)

£100-150

473* Woven oval. Very rare sixth-plate brown thermoplastic union case by Smith?, 1860?, empty, hinges weak Berg 3-561. (1)

£100-150

475* Geometric Scroll Pattern. Very, very rare black carte-de-visite size thermoplastic union case by (Smith’s) Improved Patent Union Case, c. 1860, housing a carte de visite of a seated man, one chip to inside edge

471* Geometric Scroll Pattern. Very rare black thermoplastic union case by (Smith’s) Improved Patent Union Case, c. 1860, case empty Berg 3-59. (1)

£100-150

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

Berg 3-593. (1)

132

£100-150


PHOTOGRAPHS IN WALL FRAMES

478 Half-plate ambrotype of a seated gentleman, early 1860s, 15 x 11cm, oval wood and plaster frame with gilt surround, a few small chips, overall 31 x 26cm, together with two quarter-plate ambrotypes, late 1850s, one of a seated elderly gentleman with hat and cane, the other of a seated young man, tinted, both 7.5 x 6cm, arched tops, similar period wood and plaster frames, overall 20.5 x 18cm Third item: Hannavy, Case Histories, p. 129. (3)

476* Ninth-plate ambrotype portrait of a girl, 1860s, tinted, in a very rare thermoplastic frame by John Smith of Birmingham, overall 11 x 9.5cm, together with a very rare thermoplastic wall frame with metal back, 1860s, holding a carte de visite of a seated lady by P. Devine, Edinburgh, frame with ornate floral design, overall 13 x 9.5cm

£100-150

Hannavy, Case Histories, p. 114 (both items). First item: Berg 7-122. (2) £150-200

479* Half-plate ambrotype of an unidentified stone cottage, c.1860, 10 x 13.5cm, wooden frame with gilt surround, overall 19 x 23cm (1)

477* Half-plate ambrotype of a husband and wife, 1850s, tinted, 13 x 9.5cm, wood and plaster frame with gilt surround, overall 25 x 21cm, together with two quarter-plate ambrotypes, late 1850s, the first of a seated young man, tinted, 9 x 7cm, oval mat with glazed black surround in wood and plaster frame, eye hook at top, small chip at head and corner repair lower left, 23 x 21cm, the second of two seated young men, tinted, 9.5 x 7cm, white and gilt mat with arched top, wood and plaster frame with rounded corners, overall 22.5 x 20cm (3)

£100-150

133

£100-150


480* Half-plate ambrotype of a gentleman seated at a table, early 1860s, tinted, highly ornate chased gilt oval mat, 14.5 x 10.5cm, finely decorated gilt wood and plaster frame, overall 28 x 24cm

482* Half-plate ambrotype of Elizabeth Brag, 1858, tinted, label inside reads ‘taken 11 Oct 1858 by Louth[?]’ and ‘11 Oct 1858, Elizabeth Brag, Mrs Pearson, Waldorf Terrace’, 14.5 x 10.5cm, wood and plaster frame, rebacked and retaped 1980s, overall 34 x 29cm

Hannavy, Case Histories, p. 130. (1)

(1)

483* Half-plate ambrotype of a newly married couple, 1850s, tinted, 11 x 15cm, cream mat, decorative wooden plaster frame, overall 32 x 37cm, together with another half-plate ambrotype of a newly married couple, 1850s, 15 x 11cm, oval brown mat with gilded edge, wood and plaster frame with rounded corners and two eye hooks, overall 26.5 x 24cm

481* Half-plate ambrotype of two women, early 1860s, gilt highlights, 14.5 x 11cm, oval cream mat, gilt wood and plaster frame, overall 29 x 24.5cm, together with a half-plate ambrotype of two young mothers, 1850s, each holding a young child, 15 x 11cm, white and gilded mat, gilt wooden frame with eye hook at top, overall 23 x 19cm (2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£100-150

£150-200

Second item: Hannavy, Case Histories, page 128: ‘This portrait, like many ambrotypes, is laterally reversed. Thus the new bride is showing her wedding ring on her right hand. Her husband wears a flower in his lapel. (2) £100-150

£100-150

134


486* Pair of quarter-plate ambrotypes of husband and wife, late 1850s, on blue grounds, 9.5 x 7cm, wood and plaster frame with eye hooks at top, overall 25.5 x 22cm (2)

£100-150

484* Oversize half-plate ambrotypes of husband, wife and mother or mother-in-law, 1859, some tinting and gilt highlights, the husband and wife in white and gilt oval mats, 14.5 x 10.5cm, the mother holding a book and in white and gilt mat with arched top, 15 x 11cm, matching decorative wooden plaster frames, a few small chips, overall 31 x 27cm Handwritten on the back of the mother or mother-in-law frame is ‘April 21/59, J.A. Thorpe, artist, Banbury’. Thorpe operated a studio in Middleton Road, Banbury from 1857 to 1860. (3) £100-150

487* Quarter-plate ambrotype of a seated boy against a blue background, 1860s, gilden wooden frame with chased brass mat and highly detailed printed label of the American Portrait Gallery to frame verso, overall 15 x 12.5cm The American Portrait Gallery was an itinerant organisation which set up temporary studios in British towns. (1) £100-150

485* Pair of half-plate ambrotypes of husband and wife, early 1860s, 15 x 11cm, gilt oval mats, wooden frames with rounded corners, a few small chips to decoration of inner borders, overall 29 x 25cm (2)

£100-150

135


490* Three thermoplastic sixth-plate wall frames, 1860s, containing tinted ambrotype portraits of a man, a woman and a man and young girl, one with fittings by Elisha Mander of Birmingham, England, overall 12 x 10.5cm Berg 7-41 (one brown, one black) & 7-43 (black). Hannavy, Case Histories, pp. 72 & 113. (3) £200-300

488* Sixth-plate ambrotype of a stable-hand and two horses outdoors, 1860s, in French pressed metal wall frame, overall 12 x 11cm (1)

£70-100

491* Whole-plate ambrotype, 1850s, of a seated lady, photographer unknown, 19.5 x 14cm, oval gilded wooden mat, good quality wooden frame with rounded corners and applied plaster decorative bead border (one bead chipped with loss to left border), overall 34 x 29 cm Hannavy, Case Histories, p. 140. (1)

489* Sixth-plate ambrotype of a young child, 1850s, beautifully tinted, 7 x 6cm, gilded wood and plaster frame with printed paper label to verso, ‘James McClure & Son, Carvers and Gilders and Printsellers to the Queen’, 83 Renfield Street, Glasgow, overall 21 x 19.5cm, together with another tinted sixth-plate ambrotype of a young woman, 1850s, 7.5 x 5.5cm, in gilt oval mat and pressed metal oval wall frame with eyelet broken but present, overall 19.5 x 15.5cm First item: Hannavy, Case Histories, page 126. (2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT at 20%)

£150-200

136

£150-200


ANTIQUES, FURNITURE & COLLECTABLES including Jewellery, Silver, Oriental Works of Art, Glassware, Ceramics, Textiles & Objets d’Art from the Estate of Robert Hardy CBE

8 MARCH 2018

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

A collection of George III and later walking sticks, various estimates


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 live bidding 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 debit cards in the UK. Credit Cards: We accept Visa and Mastercard. It is advisable to let your card provider know in advance if you are intending to purchase. This reduces the time needed to obtain authorisation when the payment is made. Bank Transfer: All transfers must state the relevant invoice number. 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. Note to Overseas Clients: All payments must be made by bank transfer only. No card payments will be accepted unless by special prior arrangements with the auctioneers. 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) or Pack and Send (tel: 01635 887237) 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.

ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty For the Portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details.

138


Libraries & Archives Nathan Winter & Chris Albury Paintings & Prints Nathan Winter Antiques & Furniture Henry Meadows Medals & Militaria Henry Meadows Aviation & Transport Collections Chris Albury & Henry Meadows Atlases, Maps & Prints John Trevers Antiquarian Books Colin Meays Modern First Editions Paul Rasti Children's Books, Toys & Games Susanna Winters Sports Books & Memorabilia Paul Rasti Taxidermy, Fossils & Field Sports John Trevers Vintage Photography & Cinema Chris Albury Manuscripts, Autographs & Ephemera Chris Albury

For free valuations without obligation, please contact any of the above specialists for further advice. Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 01285 860006 / firstname or info@dominicwinter.co.uk

www.dominicwinter.co.uk

139


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 20% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 20% 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 20% 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 theAuctioneer 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 lower estimate, 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.


Dominic Winter Auctioneers  

Photography: The First 150 Years | 9 March 2018 - High Res

Dominic Winter Auctioneers  

Photography: The First 150 Years | 9 March 2018 - High Res