MACKAY HUGH BAILLIE SCOTT (1865-1945) FOR JOHN P. WHITE, THE PYGHTLE WORKS, BEDFORD ARTS & CRAFTS 'DAFFODIL' DRESSER, CIRCA 1901 oak, painted wood, with beech inlay, bronze, bears label to reverse, G. H. MORTON & SON LTD, BOLD STREET, LIVERPOOL, retains original keys 170cm wide, 168cm high, 59cm deep Provenance: Sotheby's London The Fine Art Society; 142 Years on New Bond Street, 5th February 2019, Lot 272 Exhibited: London, Fischer Fine Art ‚ Truth, Beauty and Design: Victorian, Edwardian and later Decorative Art, May-June, 1986Cambridge, Kettle's Yard, Baillie Scott, Sept-Oct 1995Cumbria, Blackwell Arts and Crafts House, The Lake District and beyond: Arts and Crafts Designs and Interiors by MH Baillie Scott and CFA Voysey, July-October, 2011 Literature: Furniture made at the Pyghtle Works, Bedford by John P. White designed by M.H. Baillie Scott, Pyghtle Works sales catalogue, 1901, fig. 18 Gotch J.A. ‘Modern Furniture', The Art Journal, January 1904, p. 133Adrian J. Tilbrook and Fischer Fine Art Limited, Truth, Beauty and Design: Victorian, Edwardian and Later Decorative Art, exhibition catalogue, Fischer Fine Art Limited, London, 1986, p. 66, fig. 163The Fine Art Society Spring 1990, exhibition catalogue, The Fine Art Society, London, 1990, illustrated p. 51, fig. 50Note: The son of a wealthy Scottish landowner, Baillie Scott was born at Beards Hill, near Broadstairs in Kent. the second of ten children. His rural upbringing and deep love for nature profoundly influenced his later work. Initially, Baillie Scott pursued agricultural studies at Cirencester Agricultural College, but soon shifted his focus to architecture. In 1893, Baillie Scott moved to the Isle of Man, where he lived for several formative years. This period was crucial in shaping his architectural and design philosophy. While on the island, Baillie Scott established his architectural practice and began to gain recognition for his innovative designs. The Isle of Man, with its rugged landscapes and natural beauty, further deepened his connection to nature, a recurring theme in his work. It was during this time that he began to publish his ideas on domestic architecture, advocating for homes that were both functional and aesthetically in harmony with their surroundings. His designs from this period often incorporated local materials and reflected the Arts and Crafts ethos of simplicity and craftsmanship. His work on the Isle of Man helped establish his reputation.Baillie Scott began his professional relationship with John P. White, head of the Pyghtle Works in Bedford, in 1898. White’s workshop was known for producing high-quality Arts and Crafts furniture, and Baillie Scott’s designs were perfectly suited to this ethos. The two men formed a close friendship, and in 1901, Baillie Scott moved with his family to Bedford, where White's workshop was located. This collaboration marked one of the most fruitful periods of Baillie Scott’s career.The present lot, crafted in John White’s workshop, is a prime example of Baillie Scott’s furniture design from this era, around the time he was completing his architectural masterpiece, Blackwell, a country house near Windermere. Completed in 1900, Blackwell remains one of the finest examples of Arts and Crafts architecture, and the present furniture piece echoes the same focus on craftsmanship, nature-inspired motifs, and functionality.
We found 16512 price guide item(s) matching your search
There are 16512 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
16512 item(s)/page
SIR WILLIAM REYNOLDS-STEPHENS (1862-1923) 'CROWN OF THORNS' ROUNDEL, 1903 bronze, signed and dated W. REYNOLDS-STEPHENS/ 1903 62cm diameter Provenance: Church of Mary the Virgin, Great Warley, EssexCollection of A.R. Dufty, Kelmscott Manor Literature: The Art Journal, 1905 which illustrates the current lot in situ as part of the altar rail, St. Mary the Virgin, Great Warley
A George II Gentleman and Tradesman Daily Pocket Journal for the Year 1756, printed for R Dodsley (London), the diary and ledger pages unused with a few annotations from the 1830s together with a group of mid 19th Century letters, references and ledgers associated with a Scott family (mainly addressed to a John or Gideon), many of whom where shepherd's by profession
PIERRE-AUGUSTE RENOIR (1841-1919)Baigneuse signed 'Renoir' (lower right)oil on canvas27.7 x 23cm (10 7/8 x 9 1/16in).Painted in 1916Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceGalerie Durand-Ruel, Paris.Paul Vallotton, Lausanne, no. 7754.Galerie Tanner, Zurich.Private collection, Switzerland (acquired from the above); their sale, Sotheby's, London, 27 June 1990, lot 103.Anon. sale, Sotheby's, London, 4 December 1996, lot 119.Private collection, Europe (acquired at the above sale); their sale, Christie's, London, 21 June 2006, lot 222.Private collection, UK (acquired at the above sale).LiteratureA. Vollard, Pierre-Auguste Renoir, Tableaux, Pastels et Dessins, San Francisco, 1989, no. 1373 (illustrated p. 287).G-P. & M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Vol. V, 1911-1919 & 1er Supplément, Paris, 2014, no. 4373 (illustrated p. 445).Baigneuse was painted around 1916, at a time when Pierre-Auguste Renoir was deeply invested in exploring the theme of the female nude within a natural environment. The artist sought inspiration from the French and Italian Masters, such as Jean-Auguste-Dominique Ingres (1780-1867) and Raphael (1483-1520), whose paintings captivated him during his 1881 tour of Italy. Renoir's motivation stemmed not only from a desire to cement his legacy in art history alongside his heroes, but also to offer a more expressive alternative to the polished, idealised nudes of academic painters such William-Adolphe Bouguereau (1825-1905). Renoir's devotion to the subject was remarked upon by Berthe Morisot (1841-1895), who wrote in her journal in 1886: '[Renoir] is a draftsman of the first rank [...] He tells me that the nude is absolutely indispensable as an art form' (G. Muehsam (ed.), French Painters and Paintings from the Fourteenth Century to Post-Impressionism: A Library of Art Criticism, New York, 1970, p. 513).Baigneuse depicts a nude woman stepping into an inviting blue stream, her back turned toward the viewer, her arms raised delicately to balance her passage through the reeds. While her posture grants fluidity and movement to the composition, the soft transitions of light and shadow across her skin give it a lifelike texture. The rouge of her left cheek is echoed within the delicate pink accents that appear across her figure, sensuously evoking her youthful vitality and perhaps her reaction to the coolness of the water. These honest and tender details generate a wonderful fusion of spontaneity and intimacy – an evocative framework by which to celebrate the sensuality and grace of the female form. Typical of his mature style, Renoir employs softer, more fluid brushstrokes and a warm, luminous colour palette. The play of light across the bather's skin conjures a golden radiance, while the more loosely worked water and vegetation, with their cooler tones, swathe her within an atmospheric veil. Nude women being enveloped by nature was a key artistic motif for Renoir, who was fascinated with the harmonious relationship between humanity and nature. He took his cue from his more classical forbears, such as Titian (c. 1488-1576) and Peter Paul Rubens (1577-1640), who frequently portrayed nudes within mythological or pastoral contexts. For Renoir, this trope was key to achieving his certain sense of joie de vivre – inviting the viewer into idyllic and pleasurable scenes that offer a retreat from the rapidly industrialising world outside.'Hymns to light and colour, to youth and life', Renoir's female nudes stand among the most celebrated works of Impressionist art (G. Muehsam, op. cit., p. 516). Indeed, the present work boasts an important early pedigree, with its first documented owner being Galerie Durand-Ruel, an institution that played a pivotal role in the promotion and success of Impressionist artists. Paul Durand-Ruel (1831-1922) was a visionary art dealer who recognised the potential of Renoir and his contemporaries at a time when their work was often met with scepticism from critics. His early support and international promotion of the Impressionists was critical in securing their enduring recognition. Baigneuse was subsequently owned by the esteemed Lausanne gallerist, Paul Vallotton (1864-1936). Like Durand-Ruel, his discerning taste and critical influence played a key role in the circulation and appreciation of Impressionist and Modern Art. More recently, the present work has remained in the same private UK collection for almost two decades. As a tender and luminous evocation of Renoir's devotion to nature and the female form, Baigneuse represents a remarkable example of the most pure and expressive work of his mature period.For further information on this lot please visit Bonhams.com
ALBERT DUBOIS-PILLET (1846-1890)Reines-marguerites dans un pot sur le rebord d'une fenêtre signed 'Dubois-Pillet' (lower left) and dated 'Août 1885' (lower right)oil on canvas81.5 x 64.8cm (32 1/16 x 25 1/2in).Painted in August 1885Footnotes:ProvenanceAugustin Durastel de Rocheblave Collection, Puy-en-Velay (acquired directly from the artist).Private collection (by descent from the above); their sale, Sotheby's, London, 1 July 1970, lot 29.Giusto Tolloy Collection, Rome (acquired at the above sale). Private collection, UK (by descent from the above). ExhibitedParis, Salon des Indépendants, 2e exposition de la Société des artistes indépendants, 21 August – 21 September 1886, no. 160 (titled 'Des fleurs sur une fenêtre').LiteratureL. Trézenik, & G. Rall (eds.), Lutèce, journal littéraire, politique, hebdomadaire, 20 August 1886.J. Le Fustec, 'Exposition de la Société des Artistes indépendants', in Journal des artistes, 29 August 1886, p. 290.F. Fénéon, 'Les Impressionistes', in La Vogue, no. 8, 13-20 June 1886, p. 275.R. Gounot, 'Le peintre Dubois-Pillet', in Cahiers de la Haute-Loire, Revue d'études locales, Le Puy, 1969, p. 123 (titled 'Des fleurs sur une fenêtre').J.U. Halperin (ed.), Félix Fénéon, Oeuvres plus que complètes, Vol. I, Chroniques d'art, Geneva, 1970, p. 44.L. Bazalgette, Albert Dubois-Pillet, sa vie et son oeuvre (1846-1890), Paris, 1976, p. 162 (titled 'Des fleurs sur une fenêtre').P. Smith, Seurat and the Avant-Garde, New Haven, 1997, p. 83 (illustrated p. 84; titled 'Bouquet de reine marguerites à la fenêtre').J. Monneret (ed.), Catalogue raisonné du Salon des Indépendants, 1884-2000, Les Indépendants dans l'histoire de l'art, Paris, 2000, p. 172 (titled 'Des fleurs sur une fenêtre').D. Lobstein, Dictionnaire des Indépendants, 1884-1914, Vol. I, A-D, Dijon, 2003, p. 572 (titled 'Des fleurs sur une fenêtre').P. Offenstadt, Albert Dubois-Pillet, Catalogue raisonné, Paris, 2018, no. 85 (illustrated p. 104).Albert Dubois-Pillet's Reines-marguerites dans un pot sur le rebord d'une fenêtre, painted in August of 1885, is a remarkable example of the artist's pivotal influence on Pointillism, a groundbreaking movement that was then burgeoning in Paris. Exhibited in 1886 at the second Salon des Indépendants, the painting garnered early critical attention, notably from the renowned art critic Félix Fénéon. In his seminal article, 'Les Impressionistes', published in La Vogue in June of 1886, Fénéon used this work to highlight how Dubois-Pillet, as well as other artists such as Georges Seurat (1859-1891) and Paul Signac (1863-1935), were revolutionising the established Impressionist style. Rather than working spontaneously or subjectively as the Impressionists did, Fénéon emphasised how these artists were pioneering a new scientific approach, dividing highly keyed colours into their constituent parts with tiny dabs of paint upon canvas, allowing them to blend optically in the viewer's eye. This technical, structured approach to achieving vibrancy and luminosity would come to be known as Neo-Impressionism, a movement for which Fénéon's article would later become revered as a foundational text. The present work depicts vibrant pink and purple flowers arranged in a floral-patterned pot placed upon the windowsill of the artist's studio, framed by a typical Parisian rooftop in the background. Its tight composition and meticulous stippled treatment of the sky showcase Dubois-Pillet's precision and fascination with light and colour. Engaging with contemporary colour theories, notably those of Georges Seurat, he applied tiny dabs of colour to deconstruct light and achieve a unique form of radiance through optical blending.As a friend and contemporary of Seurat, Dubois-Pillet was involved in the same avant-garde circles that challenged the traditional and academic norms of painting. While he aligned with the Neo-Impressionist movement due to his scientific approach to painting, his works conveyed a more restrained and poetic sensibility to those of his counterparts. As Seurat explored the bustling metropolitan life of Paris, Dubois-Pillet focused on still-lifes and quiet interiors, emphasising introspection and the domestic sphere with a delicate and evocative sensibility. In addition to its significant early acclaim – demonstrating its presence at the heart of a transformative moment in modern art – the present work comes with an impeccable, unbroken provenance. Its first owner, Augustin Durastel de Rocheblave, acquired the work directly from the artist. Durastel de Rocheblave was a lawyer from Puy-en-Velay, the French commune that Dubois-Pillet was transferred to as an artillery captain in the French military, and which inspired many of his final paintings. Dubois-Pillet passed away in August 1890 due to an outbreak of smallpox in this region, after which his friend Paul Signac and the Société des Artistes Indépendants – of which Dubois-Pillet was a founding member – organised a memorial exhibition of his work. Extant paintings by the artist are exceedingly rare, due to a fire that destroyed the majority of his work, as well as his early death. The present work, therefore, remains an exceptional example of Dubois-Pillet's most pioneering work, and a testament to his contribution to the tectonic shifts in modern art that took place at the end of the nineteenth-century.For further information on this lot please visit Bonhams.com
18th century and later leather bound volumes, to include: The Works of Henry Fielding, 1783, vol. XI; Works of Moliere, 1748, vol. VI; The Works of Alexander Pope vol. IV part III, 1742; The Spectator, the twelfth edition, 1739; The Works of Moliere, volume the eighth, 1748; The Monthly Review or Literary Journal Enlarged, from September to December inclusive 1797; and four further volumes. (10)
Jurisprudence & Caricature - Edmund Xavier Kapp (1890-1978), after, four prints, from the popular series Ten Great Lawyers, Sir Thomas Willes Chitty, Bart, The Right Hon. The Baron Hewant of Bury, Lord Chief Justice, The Right Hon. Viscount Cave, other untitled, published by The Law Journal 1925, the largest 31cm x 21.5cm overall (4)'Oh to be silent! Oh to be a painter! Oh (in short) to be Mr. Kapp' - Virginia Woolf
![[Oldys (William)] The British Librarian: Exhibiting a Compendious Review or Abstract of our most Scarce, Useful, and Valuable](https://cdn.globalauctionplatform.com/39360469-0db9-4271-8365-b1fc00cb3067/48316f6a-df4a-40f9-8c6f-b1fc00cf4086/468x382.jpg)
[Oldys (William)] The British Librarian: Exhibiting a Compendious Review or Abstract of our most Scarce, Useful, and Valuable Books..., lacking advertisement f. at rear, title working loose, a few ink inscriptions to front endpapers, some light browning and spotting, contemporary calf-backed boards, spine in compartments, one lettered "24" in gilt, damp-stain to lower cover, extremities quite worn, upper joint split but holding firm, for T. Osborne, 1738 § Akenside (Mark, editor) The Museum: Or, the Literary and Historical Register, 3 vol., titles in red and black with engraved vignette, vol. 3 with 19th century ink ownership stamp to front free endpaper, vol. 1 A2-3 & 3I1 with small hole affecting a few letters, some scattered spotting, lightly browned, vol. 1 & 2 lower hinges cracked with a few leaves working loose, modern half calf over marbled boards, red morocco spine labels, rubbed, for R. Dodsley, 1746-47, first collected editions, book-label of J.O. Edwards; and others 19th century, including James Savage's journal The Librarian (1808-09), 8vo (7) *** Both mentioned first published in parts.
Mining.- Railways.- Mine rescue station commission of the State of Illinois. Report to the Governor and General Assembly, full-page lithographed and photographic illustrations and plans, p.[9] some red ink marking to outer margin, occasional spotting, original printed wrappers, lightly browned and marked, a solid copy, 8vo, Springfield, Illinois, Illinois State Journal Co., State Printers, 1911. *** Rare report on the specialist mine rescue station and train in Illinois. We can trace only three copies (Cornell, Colorado School of Mines, and Lehigh).
JAPANESE JOURNAL OF GEOLOGY AND GEOGRAPHY, a miscellany of volumes, early 20th century, with a selection of Cotteswold Naturalist Field Club, Bristol and Gloucestershire Archaeological Society, etc, ex college libraries, (qty)Condition Report: Ex-Library / public library / university library books will have ink stamps, labels or residues of library labels to the pages inside and / or spines.
THE WORLD OF FASHION AND CONTINENTAL FEUILLETONS, vol XIII, with 98 hand coloured plates and 23 others, London, Mr Bell, 1834-1837; THE YOUNG LADIES’ JOURNAL, vol 5 only, with 12 folding hand colour plates, London, Harrison, 1868, both disbound, (2).Condition Report: Both bindings defective. The black and white uncoloured plates in the smaller book are in poor condition. The colour fashion plates are better but all have been cropped along all edges and many have losses or no text remaining at the bottom.The pates in the larger book are all folded, some miss-folds and some with wear along the edges where they have protruded out of the book. General age toning to the paper, some shadows of plates visible on the reverse side.No library stamps to any. Colours bright.
A collection of 19th century and later illustrated books, to include, FOSTER (B), illus, SABBATH BELLS CHIMED BY THE POETS, Bell and Daldy, 1856; MORE LEAVES FROM THE JOURNAL OF A LIFE IN THE HIGHLANDS FROM 1862-1882; London, Smith, Elder & Co, 1884; GISSING (G), BY THE IONIAN SEA, London, Chapman and Hall, 1901, (21).
DEWHURST (H), BARCLAY’S UNIVERSAL ENGLISH DICTIONARY NEWLY REVISED, with 62 maps and other illustrations, full suede calf, spine split at gutters, London, George Virtue; MARTIN (B), NEW PRINCIPLES OF GEOGRAPHY AND NAVIGATION, lacking all plates and charts, London, 1758; THE JOURNAL OF THE HOUSE OF COMMONS, Vol XVII, 1711-1714; BUTLER (J), A COURSE OF GEOGRAPHY, incomplete, London, 1832; WHISTON (W), WORKS OF FLAVIUS JOSEPHUS, Dublin 1796; VAN DER BURG (A), SCHOOL OF PAINTING FOR THE IMITATION OF WOODS AND MARBLES, 6th edition, chromo and engraved plates, Crosby Lockwood, 1923; with other poor condition books with plates, (qty).Condition Report: AS FOUND - sold with all faults.
POTTLE (F), BOSWELL’S LONDON JOURNAL 1762-1763, No 415/1050, ¼ vellum, Heinemann, 1951; BAIN (I), ALBERT SCHLOSS’S BIJOU ALMANACS, No 99/150, Nattali & Maurice, 1969; WILDER (T), THE WOMAN OF ANDROS, 16/160 signed, Longmans, 1930; BETJEMAN (J), GHASTLY GOOD TASTE, No 112/200, signed, Anthony Blond, 1970; SELECTED POEMS OF COLERIDGE, 500 copies, Nonesuch Press, 1935; with four other books, (9).Condition Report: Poems of Coleridge in poor condition – heavily damp marked / browned internally.
Wax seal impressions, 19th century An interesting group of red wax seal impressions originally in the collection of 'Mr. Allis F.S.A.' [some of which were exhibited by him at the Archaeological Institute and subsequently recorded in the Archaeological Journal of the Institute, No21, March 1849, page 73]. Subjects include St. Leonards Hospital, Leicester, found in Barn Field, Saffron Walden (the matrix now in the town Museum), St. Nicholas Monastery, Worcester, found in a garden at Bennington, Herts, the Statute Marchant of Worcester (Clothworkers company of Worcester 1654), and others, inscribed card mounts and letter of provenance (11)
PARRY (William E) Journal of a Voyage for the Discovery of a North West Passage from the Atlantic to the Pacific; with Supplement and Appendix, 2nd edition, London: John Murray, 1821-24, 4to, folding charts, plates as called for, some offsetting otherwise a good tight copy; Journal of a Second Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific. London: John Murray, 1824, 4to, plates and charts as called for, tissue guards, both vols. in 20th century tan half calf (2)
BROWN (Robert, Corporal in The Coldstream Guards) An Impartial Journal of a Detachment from the Brigade of Foot Guards commencing 25th February 1793 and ending 9th May 1795, Illustrated with a Map of the Seat of War. London: for John Stockdale, London, 1795, 8vo, with fold out map of the Southern Provinces of Holland with part of the Netherlandsrebacked and front board almost detached. Old ink notes to first leaves. Inserted notes leaf. See images.
DARWIN (Charles) A Naturalist's Voyage. Journal of Researches into the Natural History and Geology of the Countries Visited During the Voyage of H. M. S. 'Beagle' Round the World. London: John Murray, 1889, 8vo, portrait frontis, illustrations, 4 pp. advertisements at end, a crisp copy in bright original cloth gilt, early owner's name neatly stamped to a blank page
This is a great photo of Dale Earnhardt Sr. in the car, with an image of the entire car superimposed in the bottom right corner. It is signed by the racing legend in black ink. The piece is matted and framed, with a sight size of 9.75"L x 7.75"H. The frame measures 15.25"L x 1.25"W x 12.25"H. Additionally included is the front-page section of the News-Journal from Daytona Beach, FL, the day he passed. Dimensions: See DescriptionCondition: Age related wear.
Measurements 80 x 56 cm, exhibited in: Paleological Museum of Elche, year 2015. Species from Mongolia. Attached is a certificate from the Cidaris scientific institution issued by Doña Aberasturi Rodríguez, year 2016. Property of an important collector and philanthropist, Barcelona. With attached steel and glass urn. Bibliography: You H. & Xu X. 2005. An adult specimen of Hongshanosaurus houi (Dinosauria: Psittacosauridae) from the Lower Cretaceous of Western Liaoning Province, China. Acta Geologica Sinica (English edition) 79(2): 168-173; Russell, D.A. & Zhao X. 1996. New psittacosaur occurrences in Inner Mongolia. Canadian Journal of Earth Sciences 33: 637-648.
A Good Swift "Dick" Petrological Microscope English, c.1895, signed to foot ‘J Swift & Son, London’, standing on cast brass foot finished in black lacquer, trunnions at top support body, plano-concave mirror on gimbal below substage, substage assembly with rotating Nicol prism on rotating divided circle for angular measurement, square stage with Swift 2″ patent stage, main body to rear of stage incorporating the ‘Dick’ rotating mechanism with fine focus via screw and course focusing via diagonal rack work, body tube incorporating a sliding plate with aperture and slide in/out Bertrand lens, to top a rotating and folding analyser engraved with 45 degree positions, complete with 2 Swift objectives, 3 eyepieces in original mahogany case The Dick Petrographic Microscope by James Swift & Son: A Historical and Operational Overview Historical Context - The history of the "Dick" Petrographic Microscope is closely intertwined with the evolution of microscopy and mineralogical studies in the late 19th and early 20th centuries. This particular microscope was developed by James Swift & Son, a company that became a key player in the production of scientific instruments in England during that period. James Powell Swift initially worked under the instrument maker Andrew Ross before establishing his own company in 1854. As the company expanded and his son joined in 1877, it was renamed J. Swift & Son. By 1912, the firm had evolved into James Swift & Son Ltd. One of the significant advancements in the field of petrographic microscopy came from Allen B. Dick, an inventor who, in 1889, designed a unique gearing system that allowed for synchronized rotation of both the polarizer (beneath the stage) and the analyzer (above the stage). This innovation made it easier to observe and study mineral samples by eliminating the need for constant adjustment and re-centration of the specimen and objective lenses when rotating the stage. Swift and Son were the first to manufacture microscopes incorporating Dick's patented gearing system, and they introduced the first model in their 1891 catalog. Known as the "Dick Microscope," . Although it was expensive and relatively few examples remain today, it was used by prominent geologists and mineralogists, including during the British polar expeditions to Antarctica. In particular, photos from the expeditions show geologist Frank Debenham preparing samples using a Swift/Dick microscope, highlighting the instrument’s role in significant scientific research. Over the years, the Dick Microscope underwent several iterations, with various modifications made to improve its design and functionality. Although these microscopes were produced for many years, they were always considered premium instruments, and as a result, their numbers were limited. Today, surviving examples of the Dick Microscope are rare, and many are missing essential components such as the slotted eyepiece or waveplates. The Operation of the Dick Microscope The Dick Petrographic Microscope was designed for examining thin sections of minerals using polarized light, a key technique in petrographic analysis. The microscope’s construction allows for the observation of mineralogical structures in ways that are not possible with conventional optical microscopes. Key to its functionality is the polarizer, which sits beneath the stage, and the analyzer, positioned above the stage. These two components are crucial for creating "crossed polars," a method that significantly enhances the visibility of mineral structures by utilizing polarized light. Here’s how it works: 1. Polarized Light: When light passes through the polarizer, only waves vibrating in one direction are allowed through. When no sample is on the stage and the analyzer is aligned at 90 degrees to the polarizer, the field of view appears black—a condition known as "extinction." 2. Anisotropic Materials: When a mineral sample, specifically an anisotropic material (one that has different properties depending on direction), is placed on the stage, it alters the path of the polarized light. Instead of the black field seen during extinction, various colors or interference patterns appear, depending on the mineral’s optical properties and its orientation relative to the light. 3. Crossed Polars and Rotation: The Dick Microscope’s main innovation is the synchronized gearing mechanism that allows both the polarizer and analyzer to rotate together. This eliminates the need to manually rotate the stage and re-center the objective lens—a process that could be tedious and required great precision. With the polarizer and analyzer moving in unison, the specimen remains stationary, allowing for smooth and efficient analysis of even the smallest mineral grains. 4. Mineral Identification: By observing the way light interacts with the mineral as the polarizer and analyzer rotate, geologists can identify minerals based on their optical properties, such as birefringence, pleochroism, and extinction angles. This technique is especially useful for studying thin sections of rocks, where the optical properties of individual mineral grains provide clues to their composition and formation history. 5. Waveplates and Additional Features: Many petrographic microscopes, including the Dick model, were equipped with accessories like waveplates, which help to determine additional optical properties of minerals, such as their optical sign (positive or negative). However, many surviving examples of the Dick Microscope lack these additional features, possibly due to wear or loss over time. Significance in Geological Research - The Dick Microscope represents an importatn step in petrographic microscopy. By simplifying the process of rotating polarizers and analyzers, it facilitated the study of mineral structures, making it easier for geologists to carry out precise optical analysis. This design innovation became particularly valuable in the field of geology, where the accurate identification and analysis of minerals are essential for understanding rock formation and the Earth's history. The instrument's role in early 20th-century geological expeditions, such as those to Antarctica, underscores its importance in scientific discovery. The high precision and quality of the microscope made it a valuabel tool for researchers working in some of the most challenging environments on Earth. References - Bracegirdle, B. *Microscopes: A Short History*. - Powell, J. "The Evolution of the Petrographic Microscope." *Journal of Geological Sciences*, 1901.
The Cabinet:English, c.1880, constructed of French polished mahogany, 2 doors opening to reveal a bank of drawers, label to inside of door reads 'ELCOCK - September 29th at 28 Fitzroy Avenue, Belfast, Harriet Sophia wife of Charles Elcock of a son, 1878', the top drawer containing a selection of slides, some by Elcock and others of diatoms and other subjects including one from the HMS Challenger Expedition, the bottom drawer containing a number of hand blown glass bottles and vials containing soundings from the HMS Challenger Expedition ( sounding dates, depths and locations corespond with the charts from 'VOYAGE OF THE CHALLENGER, WYVILLE THOMPSON, 1878', a copy of whihc is included in another lot), with 8 drawers of blank diatom slides and mounting equipment, the cabinet 59cm wide, 59cm tall, 33cm deep.Charles Elcock (1834-1910) was a well known figure in the world of microscopy, particularly known for his expertise in creating microscope slides featuring foraminifera, a group of amoeboid protists characterized by their intricate shell structures. Born in Pontefract, Yorkshire, England, on August 18, 1834, Elcock was the second son of Charles and Mary Ann Elcock. The Elcock family were Quakers, a religious background that profoundly influenced Charles throughout his life, as reflected in his writings and humanitarian efforts during the Franco-Prussian War. Elcock's early career was varied, encompassing teaching and publishing, but it was his later work in microscopy for whihc he is remembered.Early Life and Career.Elcock's early years were marked by a strong education and a diverse set of experiences. After the death of his father in 1837, his mother took up teaching to support the family. Elcock attended the Friends' School at Rawdon, which was a formative experience given the Quaker values emphasized there. His early professional life included roles as a teacher and printer, and he maintained a close association with the Quaker community throughout. By the 1860s, Elcock was involved in publishing religious texts, which eventually led to his work in London and Gloucester, where he likely developed his interest in microscopy through his connection with Alfred William Bennett, a prominent member of the Royal Microscopical Society.Microscopy and Foraminifera.Charles Elcock's most significant contribution to science was his work with microscopy, particularly in mounting foraminifera on microscope slides. Foraminifera are microscopic marine organisms that produce a shell, often referred to as a "test," which can be quite intricate and beautiful. Elcock's slides were celebrated not just for their scientific utility but also for their aesthetic appeal. His work involved arranging these tiny shells meticulously on slides, often organizing them by species and orientation, which made his slides valuable for both scientific study and as objects of beauty.Elcock's expertise in preparing these slides was widely recognized. He became a member of the Belfast Naturalists' Field Club shortly after moving to Ireland, where his skills in mounting foraminifera were lauded. In 1879, his work won a prize from the club for its artistic skill and superior finish. His techniques and methods were innovative, and he shared his knowledge through articles, most notably in the Journal of the Postal Microscopical Society, where he also advertised his slides.Legacy and Impact.Elcock's slides were distributed through well-known retailers in London, Manchester, and Bath, and they were highly regarded by contemporary scientists and hobbyists alike. Reviews of his work praised the meticulous attention to detail and the scientific value of the slides. His contributions to microscopy, particularly in the study of foraminifera, have left a lasting legacy in the field. While much of his life was also dedicated to religious writing and humanitarian efforts, it is his work in microscopy that has cemented his place in the history of science. A large part of his original equipment and the slides he produced is held at the Whipple Museum of Science in Cambridge: https://www.whipplemuseum.cam.ac.uk/explore-whipple-collections/microscopes/foraminifera-slides-and-working-tools-microscope-slide-maker Challenger Expedition: Revolutionizing Oceanography through Deep-Sea SoundingsThe Challenger Expedition (1872-1876), a pioneering oceanographic endeavor, marked a turning point in our understanding of marine sciences. This British voyage, named after the HMS Challenger, was the first dedicated scientific exploration to systematically study ocean basins, marine life, and geology. Among its most critical contributions were the extensive soundings, temperature recordings, and water samples taken during the expedition, which have had a lasting impact on oceanography.Deep-sea soundings, the process of measuring the depth of the ocean, were among the most revolutionary aspects of the Challenger Expedition. Utilizing newly developed sounding equipment, the expedition made nearly 500 soundings across the world’s oceans. These measurements were pivotal, not only in mapping the seabed but also in discovering the global patterns of oceanic trenches, underwater mountains, and plains.Prior to the Challenger Expedition, the depths of the oceans were largely unknown. The sounding techniques employed involved lowering weighted lines, known as sounding lines, into the ocean until they reached the seabed. The depths recorded by Challenger revealed for the first time the complex topography of the ocean floor. One of the most significant findings was the Challenger Deep in the Mariana Trench, recorded as the deepest part of the world's oceans.The data collected on these soundings provided foundational knowledge that spurred further scientific inquiry. For instance, the temperature profiles of ocean waters at different depths, also recorded during these soundings, helped scientists to begin understanding thermocline and its role in oceanic circulation patterns.The implications of these findings were vast. They challenged previous notions of a lifeless deep sea by providing evidence of life at all depths, and the samples of sediment helped develop the fields of marine geology and paleontology. This wealth of data collected by the Challenger laid the groundwork for modern oceanography and prompted the establishment of permanent oceanographic institutions.The Challenger Expedition was instrumental in transforming oceanography from a field cluttered with myths and speculations to a serious scientific discipline. Its soundings opened up new realms in the understanding of oceanic depths and laid down the benchmarks for future explorations, forever altering our relationship with the oceans. The expedition not only charted unknown waters but also set the course for future marine scientific endeavors, proving its legacy in the history of science.
A selection of books on antique ceramics and art glassware to include British Glass 1800-1914 by Charles Hajdamach, The Journal of the Glass Association magazines, An Illustrated Guide to British Jugs by R K Henrywood, Art Deco tableware by Judy Spours, and other similar books (35) Location:If there is no condition report shown, please request
λ SIR FRANK BRANGWYN (BRITISH 1867-1956) THE JAPANESE KIMONO: PORTRAIT OF LUCY RAY Oil on canvas Signed with initials and dated '93' (upper right) 100 x 95cm (39¼ x 37¼ in.) Provenance: The Fine Art Society, London Sale, Sotheby's, London, 19 May 1982, lot 19 The collection of Mr and Mrs Tim Rice Literature: The Decorative Arts Society, Journal 26, 2002, Horner, 'Brangwyn and the Japanese Connection', reference O3237 Young woman sits behind dark table facing left, wearing kimono and seated in white Chinese looking chair. Pink cherry blossom in bowl foreground, pale chrysanthemum patterned panel behind her left and plain peacock blue panel right.Very Whistlerian and obviously Japanese in 'quotation' mode. Unusual for Brangwyn, not only because he painted few portraits, but also because the lady is quite beautiful and the painting sympathetic to the female figure. The work was initially known as Lady in a Kimono until The Fine Art Society suggested that it was a portrait of Lucy Ray, Brangwyn's wife.Lucy Ray was born in 1870 in Stantonbury, Buckinghamshire so she would have been 23 in 1893 which accords with the sitter. She married Brangwyn on the 28th January 1896 at the Registry Office, St George's, Hanover Square, London, when she was 26 and Brangwyn was 29. The marriage certificate described her as a nurse. Unfortunately there are very few close up photographs of Lucy - one was taken in Longpré, France in 1896 and the other is undated.Very little is known about Lucy. Much was written about Brangwyn and his work during his lifetime, most of it 'purple prose', but very little biographical, except Philip Macer-Wright's book Brangwyn. A Study of Genius at Close Quarters. published in 1940. The reliability of the book is debateable, but he does quote Brangwyn as stating that 'sheer laziness had prevented him from making portraits of his wife'. Laziness was not one of Brangwyn's characteristics but one would have thought he'd recall painting her before they were married.Comparing the known photographs of Lucy with the portrait Horner argues that the sitter is unlikely to be Lucy, who had a much longer face, a wide mouth with thin lips and different shaped eyebrows. Whether we will ever know for sure who the sitter is remains a mystery.We are grateful to Dr Libby Horner for her assistance with cataloguing this lot. Condition Report: The canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges. The canvas perhaps a little loose. Inspection under UV reveals some scattered light retouching and infilling throughout.Condition Report Disclaimer
SIR DAVID MURRAY (BRITISH 1849-1933) THE GOLDEN BAY, LULWORTH Oil on canvas laid to board Signed and dated '1910' (lower left); further signed, titled and numbered (verso) 122 x 183cm (48 x 72 in.) Provenance: Sale, Sotheby's London, Scottish and Sporting Paintings, Drawings and Watercolours, 28 August 1990, lot 814Exhibited: London, Royal Academy, 1910, No. 171 Born in Glasgow in 1849, Sir David Murray R.A. spent the first eleven years of his career working as a mercantile clerk. During this time, he attended evening classes at the Glasgow School of Art and embarked on painting trips outside of the city. Aged twenty-four, Murray decided to focus exclusively on his art and left Glasgow for the Isle of Skye, living in a rude shelter on Loch Coruisk. He moved to London in 1882, where he resided in Millais' old studio at 1 Langham Chambers until his death in 1933. A devotee of painting en plein air, Murray's landscapes were initially drawn from the Scottish isles and highlands. He spent a period painting in France and Italy, while the Thames, East Anglia and the South of England provided inspiration in his mature years. Despite the delayed start, Murray's success came quickly. He was regularly exhibiting at the Royal Academy by 1877, was elected an Associate in 1891 and a full Academician in 1905. Marion Hepworth Dixon (1856-1936), a writer and art critic, explained that Murray's artistic skill lay in "his boldness to see, to attack the world as it is, and while making no mere transcript of nature, to seek neither to bedeck nor adorn it." His paintings capture the flux of nature and the prosaic beauty of the world around him. In the present work, Murray depicts a peaceful evening at Lulworth Cove in Dorset. Gulls swoop and bob along the waves, which roll gently into the shore. A warm sunset glow illuminates the canvas; iridescent colour dapples the sea and cliffs to brilliant effect. Exhibited at the Royal Academy in 1910, the painting was declared his best entry of the year and a display of "natural strength", with critics praising his confident handling of colour and light. 1 For Murray's early life, please see Marion Hepworth Dixon, 'The Art of David Murray, R.A.', The Ladies Realm, 1905 vol. 5. 2 Marion Hepworth Dixon, 'David Murray A.R.A.', The Art Journal, 1892, p.147. 3 The Art Journal, 1910, pp. 168, 170. See also The Illustrated Sporting and Dramatic News, May 7 1910, p.386 and The Edinburgh Evening News, May 7 1910, p.6 Condition Report: Other than two dots that fluoresce under UV in the upper right corner, the painting presents no damages or signs of restoration. The painting is good condition. Framed measurements: 223 x 164 cm; depth 14 cm Condition Report Disclaimer
AFTER FRANZ XAVER WINTERHALTER (GERMAN 1805-1873) VICTORIA, PRINCESS ROYAL (1840-1901) LATER EMPRESS FREDERICK OF GERMANY Oil on canvas With initials and date 'F. W.1857' (lower left) 31 x 23cm (12 x 9 in.)Provenance: Lady Jane Abdy, London Gifted to the present ownerAfter the picture in The Royal Collection (RCIN 404580)Princess Victoria, Queen Victoria's eldest daughter, wears the badge of the Order of Victoria and, in the three-quarter-length portrait, a prominently displayed ring on her left hand, alluding to her engagement to Prince Frederick William of Prussia, whose portrait Winterhalter painted at the same time (Schloss Friedrichshof). She was 17 years old. This painting is the first in a set of portraits of Queen Victoria's four eldest daughters. The Queen recorded in her Journal: 'Winterhalter has done a beautiful picture of Vicky, & is making an excellent head...of Fritz'.
Macao. De Guignes (Chretien-Louis), Carte de l'entreé de Macao avec la route des vaisseaux pour se rendre à Waupum et celle des bateaux du pays pour aller par l'interieur à Guantum Latitude de Macao 22 12 44. Longitude a l'Est de Paris 111 5, circa 1800, uncoloured engraved map, old horizontal fold to centre, contemporary manuscript title, place names, longitude, latitude, depth soundings and cartographer's imprint all in brown and black ink, island of Chicho also in contemporary manuscript, 500 x 460 mm, contemporary manuscript note to verso: '5 cartes manuscriptes dresseés par Mr. Deguidnes fils lors de son voyage de Brest à Macao en 1784 jointes au journal de son voyage. (Observations)' together with Singapore. Laurie & Whittle, Plan of the Port of Rhio on the Island of Bintang in the Staits of Sincapore, London: 1794, engraved map with hand colouring, small closed tears around imprint, lower blank margin sympathetically replaced with later paper, 530 x 420 mm plus Indonesian Islands. Heather (William), A New Chart of the Eastern Straits to China Drawn from the Best Authorities, London, 1800, uncoloured engraved sea chart, trimmed to image to lower and upper margin, short closed tears, 650 x 930 mm QTY: (3)NOTE:The first item is a possible pre-publication working proof with manuscript annotations before title and letters. The note to the verso reads '5 handwritten cards sent by Mr. Deguines fils during his trip from Brest to Macao in 1784 attached to the journal of his trip'. The map would be published in Voyages a Péking, Manille et l'Île de France, faits dans l'intervalle des années 1784 à 1801, Paris, 1808
Tuckey (James Kingston). Narrative of an Expedition to Explore the River Zaire, Usually Called the Congo, in South Africa... To which is added the journal of Professor Smith, 1st edition, London: John Murray, 1818, folding engraved chart, 13 engraved plates, including one hand-coloured, occasional light spotting and toning, bookplate of Sheffield Airey Neave (1879-1961, entomologist), contemporary half calf, joints cracking, edges lightly rubbed, 4toQTY: (1)
Dugmore (A. Radclyffe). Camera Adventures in the African Wilds. Being an account of a four months' expedition in British East Africa, for the purpose of securing photographs from life of the game, 1st edition, London: William Heinemann, 1910, map, half-tone illustrations, some light spotting, bookplate of surgeon John William Walker, top edge gilt, original cloth gilt, spine faded, 4to, with a 1 pp. autograph letter from the author dated 1912 tipped-in to dedication leaf with a press cutting and loose prospectus for the author's forthcoming film 'The Wonderland of Big Game', together with Mecklenburg (Duke Adolphus Frederick). In the Heart of Africa, translated by G. E. Maberly-Oppler, 1st edition in English, London: Cassell and Company, 1910, colour frontispiece, 2 folding maps (one with short closed tear), monochrome illustrations, some light spotting, bookplate of John William Walker, original cloth gilt, spine faded, 8vo, plus Livingstone (David). Missionary Travels and Researches in South Africa; Including a sketch of sixteen years' residence in the interior of Africa, 1st edition, later issue, London: John Murray, 1857, folding uncoloured frontispiece, portrait of the author, 2 folding maps (one contained in rear pocket), wood-engraved plates and illustrations, occasional light spotting, John William Wallker bookplate, original blindstamped cloth, rebacked with most of original spine relaid, 8vo, with 6 others including 1st editions A Walk Across Africa or Domestic Scenes from my Nile Journal, by James Augustus Grant, 1864, Norway. The Northern Playground, by William Slingsby, 1904, and Kenya Mountain, by E. A. T. Dutton, 1929QTY: (9)
![Lasker-Schuler (Else). Die gesammelten Gedichte, 1st edition, Leipzig: Verlag der Weissen Bücher, 1917, 224, [3] pp., top edg](https://cdn.globalauctionplatform.com/77603c7d-ab27-4102-b3a0-b17f00af972b/ee42840a-68e5-4ef9-a5d9-b1f70103cf53/468x382.jpg)
Lasker-Schuler (Else). Die gesammelten Gedichte, 1st edition, Leipzig: Verlag der Weissen Bücher, 1917, 224, [3] pp., top edge gilt, contemporary pale yellow quarter morocco over patterned boards, with pale yellow outer morocco tips, spine gilt decorated at head and foot, and with gilt morocco title label, spine lightly dulled, 8voQTY: (1)NOTE:Limited edition of 100 copies printed on handmade paper, this copy numbered 16 with old printed bookmark of Zinglers Kabinett, Frankfurt and Main loosely inserted.Else Lasker-Schuler is regarding as a pioneer of avant-garde poetry in Germany in the early years of the 20th century, and a major representative of literary expressionism. In 1903 she married Herwarth Walden, writer, publisher, gallerist and editor of the modernist literary and artistic journal Der Sturm. Between 1912 and 1915, Lasker-Schuler engaged in an important artistic correspondence with the artist Franz Marc, founder the Blaue Reiter movement with Wassily Kandinsky.
District Gazetteers of the United Provinces. Allahabad, Azamgarh, Agra, Lucknow, Cawnpore, 5 volumes, Allahabad: F. Luker, Supdt, Government Press, United Provinces, 1903-11, folding map to each, ex-library (to all apart from Allahabad), Liverpool Public Library bookplates to front pastedowns, original green cloth gilt, gilt shelf numbers to spine bases, rubbed, occasional soiling, 8vo, together with 8 volumes of the Imperial Gazetteer, 2 volumes of the Geographical Journal and N. W. F. Province Gazetteers, Peshawar District (Volume A, 1931) and 5 other related gazetteersQTY: (21)
Gleig (G. R.). Memoirs of the life of the Right Hon. Warren Hastings, first Governor-General of Bengal, 3 volumes, London: Richard Bentley, 1841, engraved frontispieces to volumes 1 & 2, contemporary tree calf, gilt decoration and morocco title label to spine, 8vo, together with:Vambery (Arminius). His Life and Adventures, Written be Himself, 2nd edition, London: T. Fisher Unwin, 1884, frontispiece and illustrations, bookplate of J. Cresswell to front pastedown, contemporary full calf, gilt decoration and morocco title label to spine, 8vo, plus Wolff (Joseph). Missionary Journal of the Rev. Joseph Wolff, Missionary to the Jews, 2 volumes, London: James Duncan, 1827-1828, contemporary half calf, gilt decoration and morocco title labels to spine, 8vo, and 18 other 19th-century leatherbound volumes, mostly 8vo QTY: (24)
Printers' International Specimen Exchange. With an Introduction by the Editor of the Paper and Printing Trades Journal, volumes 1-5, 7 & 8, London: Office of the Paper and Printing Trades Journal, 1880-84, 1886-87, numerous specimens of printing, including engravings, chromolithographs, etc., some heightened with gold, on various papers, some folding, edges untrimmed, endpapers with some damp-staining to margins, original vellum gilt, covers dust-soiled, ink stain to upper board of volume 3, some marks and spotting to other volumes, with occasional wear, thick 4to QTY: (7)NOTE:The Specimen Exchange was begun in 1880 as an offshoot of The Paper and Printing Trades Journal, published by Field and Tuer, and ran until 1898. The earliest volumes include commentary by Andrew White Tuer and his editorial assistant Robert Hilton.
A poat-War ‘1953 East Coast Floods’ B.E.M. group of four awarded to Lance Bombardier G. W. Smith, Royal Artillery, late Royal Engineers, who displayed meritorious service during the worst flood to affect England and Scotland of the 20th Century British Empire Medal, (Military) E.II.R. (22304725 L/Bmdr. Gerald W. Smith, R.A.); Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, Palestine 1945-48 (14034604 Spr. G. W. Smith. R.E.) mounted as worn, good very fine (4) £240-£280 --- B.E.M. London Gazette 1 June 1953: ‘The Queen has been graciously pleased, on the occasion of Her Majesty’s Coronation, to approve the award of the British Empire Medal (Military Division) in recognition of meritorious service in connection with the East Coast Floods.’ Gerald William Smith served as Sapper in Palestine with the Royal Engineers and was later decorated for his valuable work as Lance Bombardier in the Royal Artillery during the North Sea Flood of 31 January-1 February 1953. Caused by extreme weather conditions of wind, high tide and low pressure, the storm surge succeeded in overwhelming flood defences along the East Anglian and Scottish coastlines, flooding land up to 5.6 metres above mean sea-level; the sudden inundation forced 30,000 people from their homes and resulted in the loss of 307 lives on land. Damage was later estimated at £50 million at 1953 prices, equivalent to approximately £1.3 billion today. The Nottingham Journal of 1 June 1953, offers a little more detail: ‘Lance-Bombardier Gerald William Smith, of 62 Heavy A.A. Regt., Royal Artillery, Lincoln, is rewarded for his work in the East Coast floods by the B.E.M. (Military). He was a driver in the Mablethorpe and Sutton area and lived in married quarters at Lincoln Barracks. He has now been demobilised.’
Queen’s South Africa 1899-1902, no clasp (Lieut: J. Hunter, V: Co: A. & S. Highrs:) nearly extremely fine £280-£340 --- John Hunter was born in Leith in 1878, the eldest son of iron works founder Robert Hunter of Glenfuir Mansion House, Falkirk. Educated at Falkirk High School, he fell under his father's wing and took initial employment at Portdownie Iron Works. On 27 December 1895, Hunter attested for the 4th Volunteer Battalion of the Argyll and Sutherland Highlanders. Appointed to "D" (Falkirk) Company as Private, he was advanced to a commission in July 1897. Sent to Chelsea Barracks in London, he secured the P.S. Certificate (distinguished) and another for knowledge of tactics. He also proved himself a crack shot at Bisley. An eager and enthusiastic young officer, Hunter ranked amongst the first to volunteer his services at the outbreak of the Boer War. Sent to the Cape, his active service proved fleeting when he was struck down with enteric fever at Heilbron in the Free State. Evacuated to hospital, he succumbed on 30 June 1900. The Falkirk & Midland Counties Journal of 7 July 1900, adds: 'Lieut. Hunter was well-known and respected, and where his readiness in volunteering for active service was regarded as showing a praiseworthy and patriotic spirit, his death has caused widespread and profound grief, and many deeply regret the end that has thus been brought to what gave promise of being a successful career.’ Four days later, the Falkirk Herald added a brief line from his commanding officer: ‘A better soldier and a better man I never wish to meet.’ For the Great War gold memorial locket relating to the recipient’s younger brother, see Lot 569.
Five: Engineer Lieutenant J. M. Thomson, Royal Naval Reserve and Mercantile Marine British War Medal 1914-20 (Eng. Lt. J. M. Thomson. R.N.R.); Mercantile Marine War Medal 1914-18 (James M. Thomson); Victory Medal 1914-19 (Eng. Lt. J. M. Thomson. R.N.R.); Defence Medal (James M. Thomson) privately engraved; Special Constabulary Long Service Medal, G.VI.R., 1st issue (Sergt. James M. Thomson) mounted court-style as worn, good very fine (5) £70-£90 --- James Maitland Thomson was born in Aberdeen in 1890 and served as Engineer Lieutenant (Temporary) in the Royal Naval Reserve from 9 April 1918. News of his advancement soon caught the attention of The Aberdeen Daily Journal on 8 June 1918: ‘Mr. James Maitland Thomson, eldest son on the late Mr. J. Thomson, Post Office, Bridge of Don, has received a commission as Engineer-Lieutenant in the Royal Naval Reserve. Lieutenant Thomson, who served his apprenticeship with Messrs. Hall, Russell, and Co., was in the Indian Naval Transport Service, and, with the exception of a short furlough, he has been continuously engaged in conveying troops and munitions to the various fronts since the beginning of the war. He also saw service in connection with the conveyance of Indian troops to Burma in 1913. His two brothers, Robert and George, are also in the Navy.’ Thomson’s Service Record adds: ‘Commission received and returned to C in C. East Indies.’
![[Folio Society] Ghost Stories by M.R. James illustrated by Charles Keeping. Travels With a Donkey by R.L. Stevenson illustrat](https://cdn.globalauctionplatform.com/b70270c9-c3ec-45df-bd1c-b1d4013580c7/6d2aa9e0-63f8-4be7-85a9-b1f600ffdf67/468x382.jpg)
[Folio Society] Ghost Stories by M.R. James illustrated by Charles Keeping. Travels With a Donkey by R.L. Stevenson illustrated by Edward Ardizzone. A Shropshire Lad by A.E. Housman. Huckleberry Finn by Mark Twain with engravings by Harry Brockway. The Source of The Nile by Richard Burton, Nightmare Abbey, Journal of The Plague Year, and six others all in slipcases (13)
A John Rose Coalport 'Animal Service' dessert ice pail or fruit cooler, circa 1800-1805, dark blue ground with simple gilt, painted with a circular panel of a Striped Hyena, opposed by a further roundel of a gentleman watering his horse before a large country estate, likely taken from one of the smaller engravings interspersed throughout the pages, of Bewick's Quadrupeds, complete with original liner and a cover further painted with game birds in flight and winged insects, unmarked and untitled, 26cm high See Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. See footnote for further details. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffolk, 1995) Condition:Main body of pail - Good condition with no damages or repairs. Rings well when tapped. Some minor wear to the gilding on the handles and around the rim.Pail liner - Good condition with no damages or repairs. Heavier wear to the gilt. Some scratches to the interior of the bowl. Rings well when tapped. Cover - Good condition with no damages or repairs. Some glaze crazing visible to the top and underside.
A Coalport 'Animal Service' coffee can and saucer, circa 1800-1805, painted with a 'Squirrel' (red)' to the coffee can and 'The Phalanger' (Cuscuses) to the saucer, titled in red to the bases, coffee cup 6.5cm diameter and 6cm high, saucer 14cm Note: This offers an interesting addition to what was historically known as a dessert service until the publication of Roger Edmundson and Kate Cadman's article on Charles Muss, Part 2 (Northern Ceramic Society), which includes several coffee cans and saucers held in private collection. It must also be noted that some other pieces do exist using the same source inspiration but with entirely different borders and overall grounds, including a 'Hyena' campagna vase with stylised purple scrolling and puce ground in Shrewsbury Museum and Art Gallery (SHYMS: C/2565). For further information, see the footnote section. See also Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. Provenance:Private collection, purchased in London. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffulk, 1995) Condition:5mm long hairline to rim of saucer. The Phalanger has a scratch through one foot and a small portion of the green landscape and belly. This piece also has some slight wear to the internal gilt ring. The coffee can is good condition with no damages or repairs. There is some expected handling wear to the gilding on the handle and the upper rim.
Houtte, Louis Benoît van. 59 Chromolithographien wohl aus "Flore des Serres" oder dem "Florist and Horticultural Journal". 22,5 x 9,5 cm (Darstellung) bzw 25 x 16,5 cm (Blattgröße). Um 1860.Hübsch kolorierte Blumendarstellungen von dem belgischen Botaniker Louis Benoît van Houtte (1810-1876). Enthält zum Beispiel "Leucoium Vernum", "Leptodactylon Californicum", "Lilium Canadense Flavum", "Lonicera Caprifolium Major", "Howardia Caracasensis", "Rhododendron Veitchianum", "Azal. Indica Albo-Cincta", "Amphicome Emodi", "Nicotiana Glutinosa", "Vaccinium Erythrium", "Dendromecon Rigidum", "Trichosacme Lanata", "Nierembergia Gracilis", "Colchicum Variegatum", "Cypripedium Purpuratum", etc. - Papierbedingt leicht gebräunt, vereinzelt stock- und braunfleckig und mit Randläsuren.
Lavallée, Joseph. Voyage pittoresque et historique de l'istrie et dalmatie. 3 Bl., VIII, 190 S., 1 Bl. Mit gestochenem Frontispiz, gestochenem Titel, 3 Kupferstichen im Text und 26 (von insgesamt 66; von den vorhandenen 3 gefaltete, 1 doppelseitige) Kupfertafeln von Tilbot nach Louis François Cassas. 51 x 31,5 cm. Leder d. Z. (berieben, bestoßen und Gelenke angeplatzt) mit goldgeprägtem roten RSchild und reicher DVergoldung sowie dreiseitigem Goldschnitt. Paris, Vilain, (1802).Vgl. Blackmer 296. Atabey 202. Monglond V, 1175 ff. Nebehay-Wagner 358. Cohen-Ricci 205. Ornamentenstichsammlung 1910. - Erste Ausgabe. Im selben Jahr erschien ebenfalls eine erste Ausgabe aus der Offizin von Didot. Mit schönen und gratigen Darstellungen der Halbinsel Istrien und der Region Dalmatien nach Zeichnungen des französischen Orientalisten Louis-François Cassas (1756-1827), einem Schüler von Lagrenée le jeune und Le Prince. "... visited Istria and Dalmatia in 1782 when he was commissioned by a group of amateurs, among whom was Visconti, to make drawings of the antiquities in that region. The text by Lavallée is in two parts; part i is a general history of the area, part II is edited from Cassas's journal of the voyage" (Blackmer). Die Darstellungen zeigen fantastische Ansichten, Grund- und Aufrisse und Architekturdetails antiker Bauwerke. - Vortitel und weitere Blätter etwas feuchtrandig, leicht stockfleckig, sonst wohlerhaltenes Exemplar.
Lallemand, Charles. La Forêt Noire. Études, impressions & Voyages sur les bords du Rhin. 2 Bl., 120 S., 1 Bl. Mit 21 fest montierten Original-Albumin-Fotografien als Titel- und Schlussvignette sowie auf 19 Tafeln. 28,5 x 23 cm. Halbleder des späten 19. Jahrhunderts (berieben und bestoßen) mit goldgeprägtem RTitel, RVergoldung und dreiseitigem Goldschnitt. Paris, Librarie du Petit Journal, (1866).Nicht bei Heidtmann. - Eines von 210 nummerierten Exemplaren (Gesamtauflage). Die Fotos zeigen überwiegend Schwarzwälder in traditionellen Trachten. Auf dem Titel eine montierte Ansicht von der Lichtentaler Allee in Baden-Baden. Lallemand (1826-1904) war ein recht umtriebiger und geschäftstüchtiger Journalist, Zeichner und Maler, der unter vielen Projekten auch eine fotografische Galerie plante und zusammen mit dem Fotografen Hart in die Tat umsetzte. Im Elsaß, in Baden, Württemberg und in der Schweiz hielten er das Alltagsleben der ländlichen Bevölkerung fest und verkauften die Aufnahmen einzeln oder in Journalen und Publikationen wie der hier vorliegenden. - Etwas stock- und fingerfleckig, die Fotografien auf rechteckigem, papiergebräuntem Grund montiert.
Popper, Karl Raimund. Degree of confirmation. Offprint from the British Journal for the philosophy of science Vol. V No. 18. S. 143-149. 24, 5 x 15,5 cm. OBroschur (gebräunt, minimal stockfleckig im Rand). Edinburgh, Thomas Nelson Sons, 1954.Titel mit einer eigenhändigen monogrammierten Widmung Poppers: "Best wishes K. R. P.". Annotierter Vorabdruck mit handschriftlichen Korrekturen aus Poppers Hand mit blauer Feder. - Papierbedingt gebräunt. Geringfügig stockfleckig.
Loading...-
16512 item(s)/page