Count Amadeo Preziosi (Maltese, 1816-1882) The 1875 Souvenir Album
Lot 148*
Vittorio Amadeo Preziosi (Maltese, 1816-1882), Aloysius Rosarius Amadeus Raymundus Andreas, 5th Count Preziosi The 1875 Souvenir Album (album size)
Sold for £378,400 (US$ 596,266) inc. premium

Lot Details
Vittorio Amadeo Preziosi (Maltese, 1816-1882), Aloysius Rosarius Amadeus Raymundus Andreas, 5th Count Preziosi The 1875 Souvenir Album (album size) Vittorio Amadeo Preziosi (Maltese, 1816-1882), Aloysius Rosarius Amadeus Raymundus Andreas, 5th Count Preziosi The 1875 Souvenir Album (album size) Vittorio Amadeo Preziosi (Maltese, 1816-1882), Aloysius Rosarius Amadeus Raymundus Andreas, 5th Count Preziosi The 1875 Souvenir Album (album size) Vittorio Amadeo Preziosi (Maltese, 1816-1882), Aloysius Rosarius Amadeus Raymundus Andreas, 5th Count Preziosi The 1875 Souvenir Album (album size) Vittorio Amadeo Preziosi (Maltese, 1816-1882), Aloysius Rosarius Amadeus Raymundus Andreas, 5th Count Preziosi The 1875 Souvenir Album (album size) Vittorio Amadeo Preziosi (Maltese, 1816-1882), Aloysius Rosarius Amadeus Raymundus Andreas, 5th Count Preziosi The 1875 Souvenir Album (album size)
Vittorio Amadeo Preziosi (Maltese, 1816-1882), Aloysius Rosarius Amadeus Raymundus Andreas, 5th Count Preziosi
The 1875 Souvenir Album
most signed, dated, numbered and inscribed with title
pencil, watercolour and bodycolour, unless otherwise stated
26 x 35cm (10 1/4 x 13 3/4in).(album size)
(81)

Footnotes

  • * = double page spread1. Frontispiece.Entitled ‘SOUVENIR / DE MON DERNIER / VOYAGE’signed and dated ‘Preziosi./ 1875.’The format of the frontispiece is that of the title page of an illustrated book or collection of prints. Constantinople2. A young woman wearing a yaşmak and a buttoned ferace (walking dress) accompanied by a child holding a toy; a beggar woman behind and a man in the background.Inscribed ‘Constantinople/ 31. Mars/ 1875’ and initialled ‘P.’ (lower left) Preziosi returns to one of his favourite themes, of what a visitor would see while walking in the streets of Pera in Constantinople. There is a wealthy woman wearing a ferace, a kind of modesty-preserving walking dress, and a golden-haired child, also richly dressed, playing with a toy; both contrasted with a ragged beggar woman. These were subjects he had represented throughout his career as a provider of picturesque scenes. 3. A portrait of a woman.Inscribed ‘Fatma Hanum/ Consple/ 31. Mars. 1875.’ and initialled ‘P.’ (lower right)Preziosi often defies the conventional view of women in Istanbul as being veiled and mysterious. Here is a realistic portrait of Fatma Hanım, who appears unveiled, relaxed and smoking a cigarette. She could be a member of that sect which is now called Alevi. Regarded as dissenters by orthodox Muslims, the Alevis did not wear the veil and believed in equality of women.4. Two veiled women in ferace (walking dress); women with parasols, a man in green, further figures and a mosque in the background.Inscribed ‘Consple-/ 5. Avril’ and initialled ‘P.’ (lower right)5. A woman in a ferace beside a fountain.inscribed ‘5 Avril/ Gainali-chesme’ and initialled ‘P.’ (lower right)This is the Aynalı Çeşme in Beyoğlu, near Hammalbaşı Sokaği where Preziosi lived with his Greek wife, Iphygenie Marchant, and their four children.6.* A paddle steamer, sailing vessels and kayıks on the Golden Horn. Inscribed ‘Constantinople, le port/ Mai 5. (75’ and signed ‘Preziosi’ (lower right)The Golden Horn was often represented by artists, and by the 1870s, the port was filled with every kind of shipping, from the traditional frail kayık, or rowing boat, acting as a ferry, to the paddle steamers filling the evening air with their trails of smoke.7.* A Muslim cemetery in Pera overlooking the Golden Horn.Signed ‘Preziosi (lower left) and inscribed ‘Mai.10.75.’ (lower right) This image of the picturesque Muslim cemetery at Pera shows the traditional Muslim tombstones, carved and painted with representations of the particular headgear of the deceased. The turbans denoted men of standing; sprays of flowers signified women.8. An Armenian courtesan, reclining on a bed.Inscribed and signed ‘Ousqui doudou – armenienne/ 14 Mai/ 1875./ Preziosi (lower left)Preziosi specialized in the unexpected, so this portrait of an Armenian courtesan whom he calls Ousqui doudou has very few precedents. Dudu is a colloquial Ottoman word meaning `Armenian woman’ or `pretty and talkative woman’, and it was also used as a term of endearment.9. * Traders and customers in the Kapalı Çarşı (Grand Bazaar). Inscribed ‘Constantinople/ 20. Mai. 1875.’ (lower left) and signed ‘Preziosi.’ (lower right)Fashionable women buy expensive fabric, attended by a black servant in westernised uniform and carrying a basket of soft fruit; an old beggar with a bandaged right leg and leaning on a crutch, looks on; on the other side of the alley, a street-vendor approaches, a Dervish converses with an Arab, seated country-women attempt to sell geese and their eggs, a blind beggar waits and two Turkish soldiers stand talking.10. A veiled woman in a fashionable ferace (walking dress) carrying a parasol.Inscribed ‘24. Mai/ 1875’ and initialled ‘P.’ (lower right)11. A veiled woman in a fashionable buttoned ferace out walking with a dark-skinned companion, with beggars and other figures Inscribed ‘Consple/ 28 Mai. 1875-‘ and initialled ‘P-‘ (lower left) 12. A Dervish haggling with a trader in the antiques section of the Kapalı Çarşı (Grand Bazaar)Inscribed ‘Bezesten/ 4. Juin./ 75.’ and signed ‘Preziosi.’ (lower left)Pen and ink and wash13.* A kayık on the Bosphorus at Beylerbeyi; steam and sailing ships in the distance.Inscribed ‘Beyler-Bey/ (Bosphore 10 Juin 75.’ (lower right) and signed ‘Preziosi.’ (lower left)Three veiled ladies are being transported across the Bosphorus in a traditional kayık near the Sultan’s newly built summer palace of Beylerbeyi.14. An young Armenian woman from Muş. Inscribed ‘Mariam, Armenienne/ de Mouche (Asie)/ 13. Juin 1875.’ and initialled ‘P.’ (lower right)Mariam’s hand has been tattoed with a henna motif; she appears to be pregnant. Muş in Eastern Turkey was an early centre of Armenian civilisation. It was also the region where the Seljuk Turks defeated the Byzantines at the Battle of Manzikert, (modern Malazgirt) in 1071, and the Turkish invasion of Anatolia began.15. An older Armenian woman in conversation with a street vendor.Inscribed ‘Armenienne de/ Mouche. (Asie)/ 15. Juin 1875.’ and initialled ‘P.’ (lower left)The Black Sea16.* The Black Sea.signed ‘Preziosi.’ (lower left) and inscribed ‘Mer noir/ 19. Juin. 75.’ (lower right) This shows the entrance to the Bosphorus from the Black Sea. On the right is the lighthouse and castle, Rumelifeneri Kalesi, and on the left the lighthouse on the Asian shore, Anadolu Feneri. Preziosi, on his way to the mouth of the Danube, is looking back from his boat at the choppy waters crashing on the headlands, where, according to the myth, Jason and the Argonauts first entered the Black Sea, avoiding the Symplegades, or clashing rocks.Romania (The views in Romania, nos 17-22 below, are not dated, suggesting that Preziosi did not in fact visit these places on his 1875 journey, but instead used the sketches and watercolours that he had made on his travels there in 1868 and 1869.)17.* The Stirbey Market in Giurgevo (Giurgiu), Romania inscribed ‘Giurgevo-/Piazza Stirbeỹ ’ (lower left) and signed ‘Preziosi.’ (lower right)The figures include an Orthodox monk with a country girl, a young provincial gentleman in a frock coat and peaked cap, women spinning and selling vegetables, and women selling roses. Giurgiu is an important centre for trade and commerce on the north bank of the Danube opposite Bulgaria. In these views of ordinary people at work and leisure, Preziosi delights in the social and ethnic mix of class and race to be found in Romania.18.* Gypsies on Filaret Hill overlooking Bucharest.Inscribed ‘Bucarest de Filaretti’ (lower left) and signed ‘Preziosi.’ (lower right)Preziosi made several versions of this scene, and charged Prince Carol I of Romania 1200 francs for the one he did for him. It was the most expensive of the series of watercolours that he sent back to the Prince after his first visit to Romania in 1868.19. The Stavropoleos Church, Bucharest. Signed ‘Preziosi.’ and inscribed ‘Stavropoleos. Bucarest’ (lower right) Originally part of a Greek Orthodox monastery and inn, built in 1724, the Biserica Stavropoleos is small but elaborately decorated.20.* A fair at Buzău.Signed ‘Preziosi.’ (lower left) and inscribed ‘La Foire/ de Buzeau. (Roumanie)’ (lower right)Buzău, north east of Bucharest, in Wallachia, is in a fertile region above the Danube plain. Revellers at the annual fair are drinking and making merry; some prepare to leave in covered wagons, a monk is selling wooden spoons, a woman holds her boots and walks barefoot, and a gypsy in western dress plays a cobza (lute).21. * The return from the fair, Buzâu.Signed and inscribed ‘Preziosi./ Retour de la Foire/ Roumanie.’ (lower right)Country folk with their purchases in covered wagons, a smaller cart driven by a priest, and a postillion (distinguished by his uniform and hat with blue, red, and yellow ribbons) on a spirited pony are returning home across the river from the fairground in Buzău.22.* The Dâmboviţa River, Bucharest, at dusk. Inscribed ‘La Dimbovitza./ Bucarest.’ and signed ‘Preziosi.’ (lower right) Bathing belles swim and frolic in the water, while sacagi collect water into a barrel on a cart, for sale to the people of Bucharest. The unexpected juxtaposition of naked women and clothed men at this spot was the subject of some astonishment among foreign visitors.The Danube23.* On the Danube.Signed ‘Preziosi.’ and inscribed ‘Danube 28. Juin / (Roumanie.)’ (lower right)On the marshy shores of the Danube delta are several varieties of water birds - pelicans, ducks, a heron - and a guard house.24.* Vidin, on the Danube with sailing boats and the Orient paddle steamer.Inscribed ‘Widin (Turquie)/ 29 Juin 1875.’ and signed ‘ Preziosi.’ (lower right) and inscribed ‘Danube.’ (lower left)Pen and ink with grey and brown washVidin, then still part of the Ottoman Empire and now in Bulgaria, is an important port on the south bank of the Danube, close to the borders of Romania and Serbia. The Orient is perhaps the steamer on which Preziosi travelled along the river.25. Peasant women in conversation, Turnu Severin.Inscribed ‘Turno Severin 30. Juin/ (75.’ and signed ‘Preziosi’ (lower left), and inscribed ‘Danube’ (lower right)The city of Turnu-Severin in Romania was founded in 1833 after an international agreement allowed free navigation along the length of the Danube. It is a major port on the north bank of the river, just below the Iron Gates.26.* The Iron Gates, Danube. Inscribed ‘Les Portes de Fer – 1. Juillet. 75-‘ (lower left) and signed ‘Presiosi./ Danube.’ (lower right)The Porţile de Fier are a series of gorges on the Danube, marking part of the boundary between Serbia and Romania.27. * The fortress at Ram on the Danube, Serbia.Inscribed ‘Rama./ (Serbie) 2. Juillet 1875.’ (lower left) and signed and inscribed ‘Danube/ Preziosi - ’ (lower right)A ferry laden with cattle and passengers passes between the medieval fortress and an island in the Danube, in north-east Serbia.28. * A barge and watermills at Dalj on the Danube. Inscribed ‘Dalia. (Crovatie) 3. Juillet. 75. / Preziosi.’(lower right). Inscribed Danube (lower left)Dalj is north of Vukovar in Croatia, near the Serbian borderBudapest, Vienna, Munich29.* Margaret Island, Budapest.Inscribed ‘Danube’ and signed ‘Preziosi.’ (lower left) and inscribed ‘L’ Ile Marguerite/ Budapest. 4. Juillet/ 75.’ (lower right) This shows the landing place for the ferry on Margitsziget, or Margaret Island, Budapest, on the Danube. With its historic ruins and water tower, it was a popular recreational area, and is now a public park.30.* The quayside at Pest with Buda beyond. Signed ‘Preziosi.’ (lower left) and inscribed ‘Pest 5. Juillet/ 1875-‘ (lower right)Passengers wait to board ferries across the Danube; a large paddle steamer, possibly the Orient, is docked. In 1873, two years before this image was made, the cities of Buda and Pest were officially merged with the third part, Óbuda (Ancient Buda), thus creating the new metropolis of Budapest.31. The Lazaristenkirche, Vienna, with carts and an omnibus in the foreground.Inscribed ‘Lazaristen Kirk)- Vienne 7. Juillet .( ’ and initialled ‘P.’ (lower left)The Neo-Gothic church was built in 1860-62 by Friedrich Freiherr von Schmidt. It is in the 7th district of Vienna. Among the horse-drawn vehicles is the unusual spectacle of a large St Bernard-type dog pulling a cart.32.* The Belvedere Palace gardens, Vienna.Signed ‘Preziosi.’ (lower left) and inscribed ‘Belvedere/ Vienne 8. Juillet 1875.’ (lower right)The Belvedere is actually two Baroque palaces at either end of a terraced garden. It was built for the soldier and statesman Prince Eugene of Savoy. The Lower Belvedere (1714–16) was a summer garden palace, and the Upper (1721–24) was designed as a place of entertainment.33.* Munich from the bank of the Isar River. Inscribed ‘L’Isar./ Munich 9. Juillet- 75’ (lower left) and signed ‘Preziosi.’ (lower right)The river Isar is a tributary of the Danube. The two bell towers of the Frauenkirche, and the tower of the Neue Rathaus can be seen on the left. 34. Figures, including an elderly peasant and women selling fruit.Initialled ‘P.’ (lower left) and inscribed ‘Costumes Hungrois.’ (lower right)35. The statue of Bavaria from the Theresienwiese, Munich. Signed ‘Preziosi’ (lower left) and inscribed ‘Bavaria/ Munich 10. Juillet. 1875.’The statue, personifying Bavaria, was commissioned by Ludwig I of Bavaria, and it stands in front of the Ruhmeshalle (Hall of Fame), built 1843-53, to contain portrait busts of famous Bavarians. The Theresienwiese is an large open space in front of the statue, best known today as the site of the annual Oktoberfest beer festival. 36. * The Maximilian Bridge, Munich.Signed ‘Preziosi’ and inscribed ‘Maximilians Brűk/ Munich 10. Juillet 1875-‘ (lower right)Soldiers, coach, priest, idler and traffic on the bridgeThe Maximiliansbrücke in Munich, spanning the River Isar, was built 1857-64. Here Preziosi typically shows an eclectic selection of people: idlers, soldiers in their pickelhaube helmets, ladies gong to market, and a stagecoach.Paris37. * The Seine from the Pont d’Austerlitz. Inscribed ‘La Seine, du Pont d’Austerlitz/ Paris 18 Juillet. 1875.’ and signed ‘Preziosi.’ (lower left)First built as an iron bridge in 1807 to commemmorate a famous Napoleonic victory, the Pont d’Austerlitz was reconstructed in stone in 1853. 38.* Families riding elephants in the Jardin d’Acclimatation, Bois de Boulogne, Paris.Inscribed ‘Jardin d’ Acclimatation/ 25. Juillet. 1875.’ and signed ‘Preziosi’ (lower right) This zoo was opened in 1860 by Napoléon III and Empress Eugénie. The animals that Preziosi depicts are presumably survivors of the siege of Paris 1870-71, or new stock, since many of the animals were eaten in the siege. 39.* A fountain in the garden of Versailles.Inscribed ‘Versaille/ Preziosi/1. Aout 1875-’ (lower right)The fountains at Versailles were famous, and a favourite place of fashionable resort. On the right a chocolate vendor can be seen, with the distinctive tower-like apparatus containing the drink on her back.40.* A grotto in the garden of Versailles.Signed ‘Preziosi –’ and inscribed ‘Versaille/ 1. Aout 1875.’ (lower right)This shows the Bosquet des bains d’Apollon in the grounds of the Château de Versailles. During the late 1770s, Hubert Robert remodelled the bosquet, creating a cave-like setting for the statues.41. * La Grenouillère, near Paris, with bathers and a regatta beyond.Signed ‘Preziosi-’ and inscribed ‘La Grenouillère – 8 Aout 75’ (lower right)La Grenouillère was a popular bathing resort and café on the Ile de Croissy, in a small branch of the Seine. It was a notorious place for assignations, its raffish atmosphere precisely caught here by Preziosi. Monet and Renoir, working side by side, had painted it in 1869, but in an infinitely more decorous manner, focussing on the effects of light and atmosphere rather than the humankind that populated it. 42.* Fontainebleau.Inscribed ‘Fontainebleau/ 12. Aout 1875.’ and signed ‘Preziosi’ (lower right)The forest of Fontainebleau was noted for its extraordinary variety of vegetation, and massive rock formations. It was painted by such artists as Rosa Bonheur, Cézanne, Rousseau and Courbet, amongst many others.43. The Armoury, Musée d'Artillerie.Inscribed and initialled ‘Musé d’Artillierie/ P. Aux Invalides 14 Aout 75.’ (lower left)The Musée d'Artillerie was founded during the French revolution, and moved to Les Invalides in 1871. As in several other scenes in this album, Preziosi depicts a newly established point of interest.44.* A sculptural group at the Grand Opéra, Paris.Signed ‘Preziosi’ and inscribed ‘Grand Opéra/ Paris 15. Aout 1875.’ (lower left)Pen and ink and washThis vertiginous study demonstrates very clearly Preziosi’s competence with perspective.45.* The Rubens Gallery at the Louvre, Paris. Signed ‘Preziosi –’ and inscribed ‘Louvre/ Galerie des Rubens/ 18. Aout 1875.’ (lower right)The gallery is crowded with fashionably dressed visitors and connoisseurs. In the background, a woman artist can be seen seated at the top of an ingenious structure with a ramp, painting an enormous copy of one of the pictures in the gallery.46.* At the fountain, St. Cloud.Inscribed and signed ‘St. Cloud/ 20. Aout/ 75-/ Preziosi’ (lower left)[1 and a ¼ page spread]The palace of Saint-Cloud was destroyed during the Franco-Prussian War in 1870. Only the park with its spectacular cascades remained when Preziosi visited later in the decade.47.* The Seine at Bougival.Inscribed ‘Bougival-/ 22. Aout 1875-‘ (lower right) and signed ‘Preziosi-’ (lower left)This view of the Seine at Bougival to the west of Paris was a favourite spot for the Impressionists, but Preziosi’s scene, with its focus on the steamer and small pleasure boats, has more in common with engravings in the popular illustrated journals of the day. To the right can be seen the wooden structure of floating baths for those who did not wish to risk the open river.48.* A café on the Boulevard des Italiens, Paris.Signed and inscribed ‘Preziosi/ 24 Auot. Boulevard des Italiens’ (lower right)Pen and ink and wash In the 1870s the Boulevard des Italiens had become a fashionable place of resort, with crowded restaurants and cafés attracting a varied clientèle. Preziosi depicts the dandified boulevardiers whose main occupation was to stroll idly and take refreshment. They were also known as flâneurs, or strollers. At left an elderly roué is in conversation with some young women, a fashionable girl walks her lap dog in the centre, and at right a soldier is accepting a sweetmeat from a street vendor.49.* The public viewing platform at the Morgue, Paris.Signed and inscribed ‘La Morgue/ 25. Aout. 1875-/ Preziosi’ (lower right)The Paris Morgue had a long history and was moved to the Quai de l’Archevêché in 1864. It was established in order to facilitate the identification of the dead, usually suicides who had been found in the Seine, although victims of crime were also brought there. It was open to the public; in fact they were encouraged to visit. This gruesome view of the corpses on marble slabs, sprayed with water and preserving chemicals, corresponds exactly with contemporary descriptions by Zola and other ‘realist’ writers. 50. The Seine from the Pont de la Concorde, Paris.Signed and inscribed ‘La Seine/ Preziosi/ du pont de la Concorde. 26. Aout’ (lower right)51.* La Fontaine de L’Observatoire, Paris.Signed and inscribed ‘La Fontaine de l’Observatoire. 27. Aout./ Preziosi’ (lower right)This fountain, installed at the southern end of the Jardin du Luxembourg in 1874, was another new attraction depicted by Preziosi. Its sculptures include work by Jean-Baptiste Carpeaux.52. * La Galerie des Statues Modernes.Signed and inscribed ‘Luxembourg/ Preziosi/ La Galerie des Statues Modernes. 28. Aout. 75.’ (lower right) Pen and ink and wash The Musée du Luxembourg is situated near the Palais du Luxembourg. In 1871 its new curator, André Gill, reassembled its sculpture collections from the 19th century, but his work was interrupted by the Paris Comune. Much of the collection was moved to the Musée d'Orsay in 1986.53.* Le Jardin du Bal Mabille, Paris.Signed and inscribed ‘Preziosi. Jardin Mabille. 30 Aout.’ (lower right)This notorious open-air dance hall, brilliantly lit with hundreds of gas lamps, was a pleasure garden, featuring the can-can, frenetic dancing that shocked visitors. It was regularly denounced by foreigners as a haunt of vice, and Preziosi veers near to caricature as he depicts the ladies of the demi-monde and their rakish admirers, observed by a prim couple on the right. It closed down in 1875, soon after Preziosi had visited it. 54.* On the River Marne.Inscribed ‘La Marne. 1. Septembre 1875.’ (lower left) and ‘Preziosi./ La ferté-sous Jouarre.’La Ferté sous Jouarre is a small and picturesque town on the banks of the Marne. In 1819, a naval officer, Norwich Duff observed: ‘This town supplies the greatest part of France with mile stones, which are considered the finest in Europe’. A pile of worked stone can be seen in the right-hand half of Preziosi’s view. 55. Chocolate vendor in the Tuileries Gardens.Inscribed ‘Jardin des Tuileries. 2. Septem’ (lower right) and signed ‘Preziosi’(lower left)The palace of the Tuileries, a setting for many historic events in the history of Paris, was finally burnt down in 1871 and never rebuilt. The Tuileries Garden covers about 63 acres and still closely follows a design laid out by landscape architect André Le Nôtre in 1664. Here Preziosi typically concentrates on the picturesque chocolate vendor. Many other artists, including Manet and Adolph Menzel, painted the crowd of visitors who flocked to the garden.56.* Bellevue along the River Seine. Inscribed and signed ‘Bellvue 3. Septembre/ 1875-/ Preziosi –’ (lower right)Nearby this spot stood the Château de Bellevue, a small château built for Madame de Pompadour in 1750. The site was chosen because of its splended views of the Seine, but the château was demolished in 1823 and little remains.England57.* The Port of Dover.Inscribed ‘Douvres - 5. Septembre/ 1875 – ‘(lower right) and signed ‘Preziosi’ (lower right) This is the scene that greeted so many visitors to England: the white cliffs, the busy ferry terminal, and the steam train waiting for the passengers to London to disembark and board.58.* The Palace of Westminster and Westminster Abbey, with Waterloo Bridge beyond. Inscribed ‘Le Parlement – Londres 6. Septembre (75.’ (lower right) and signed ‘Preziosi’ (lower right)In this scene Preziosi reminds us just how many of the old buildings to the west of the Palace have been cleared.59. Trafalgar Square, London.Inscribed ‘National Gallery.’ (lower left) and signed and inscribed ‘Trafalgar Square. Preziosi / 7 . September 1875 –‘ (lower right)The busy scene, viewed from just west of the empty fourth plinth, includes a sandwich board man advertising books, a shoeshine boy and a Scottish military man going about their business in the haze and fog of London. Preziosi here gives us his view of street life in London, including the inevitable murkiness of the climate, even in the open space of the square.60. A Pride of Lions, Zoological Gardens, Regent’s Park, London. Inscribed and initialled ‘Zoological Gardens P./ Regent’s Park. 7. September (75.’ (lower right)Chalk and wash61.* The Paintings Gallery, South Kensington Museum. Signed ‘Preziosi’ (lower left) and inscribed ‘Kensington Museum. 8 September’ (lower right)The paintings gallery shown here is now Room 98 in the Victoria and Albert Museum. In addition to the policeman and gentlemen connoisseurs, particularly interesting are the female art students from the School of Design copying paintings, and the curious structures of the revolving display stands. The latter were obviously not a success, as photographs of this gallery before and after the period around 1875 do not show them. 62.* A staircase in the South Kensington Museum.Inscribed and signed ‘Kensington/ Museum/ 9. September/ 1875./ Preziosi –‘ (lower right)This staircase leads down from Room 88, at the eastern end of the V&A. Apart from the colour scheme and the pictures on the walls, it is still precisely as it is was in 1875. Preziosi has rendered the details exactly.63.* Greenwich.Inscribed and signed ‘Greenwich. Preziosi./ 10. September 1875.’ (lower right) The view down river includes a scull, a paddle steamer and, on right, the old Greenwich Hospital, which, in 1873, had become the Royal Naval College.64.* The gardens at Hampton Court Palace. Inscribed and signed ‘Hampton Court/ 11. September 1875./ Preziosi.’ (lower right)Well-to-do visitors, including children dressed in the latest fashions, promenade and relax in the gardens at Hampton Court.65.* Ancient sculptures at the British Museum.Signed and inscribed ‘Preziosi./ British Museum./ 13 September 1875.’ (lower right)This shows the sculptures then on display in the red painted south transept of the Egyptian Sculpture Gallery, combining the views looking north and east. The curious object in the glass case on the right was put on exhibit in 1873. It purported to be a 6th century B.C. Etruscan sarcophagus from Cervertri, but is in fact a jumble of Etruscan elements, cunningly copied. Denounced then as a fake by a few, then progressively over the years by everybody, the British Museum did not actually remove it from display until 1935.66. Westminster Abbey with a memorial to the 1st Earl Stanhope.Signed and inscribed ‘Westminster Abbey/ 14 September./ 1875. Preziosi’ (lower left) and ‘EARL STANHOPE / (OF ALMENARA.)’ (lower right)James Stanhope, 1st Earl Stanhope (1673 –1721) was a British statesman and soldier, best remembered for his service during the War of the Spanish Succession. He was made commander-in-chief of the British forces in Spain, and in 1710 helped to win the battles of Almenara and of Saragossa.67. The Albert Memorial, Hyde Park.Inscribed ‘Hyde Park. 16. September 1875.’ (lower left) and signed and inscribed ‘Preziosi. / Prince Albert Memorial.’ (lower right)The Albert Memorial was commissioned by Queen Victoria in memory of her husband, Prince Albert, who died in 1861. It was designed by Sir George Gilbert Scott in the Gothic style and finally completed in 1875, when the seated statue of Albert was placed in position. With his journalistic eye, Preziosi has once again chosen a topical subject. 68. Holborn Viaduct, St Paul’s Cathedral in the background.Initialled and inscribed ‘P. City. 17. September/ 75.- ’ (lower right)This is a similar view to a famous print by Gustave Doré, published in 1872. Many newspapers had their printing presses in this area.Marseilles69.* The Vieux Port, Marseilles. Inscribed and signed ‘Marseilles/ 8. Octobre/ 1875 – Preziosi’ (lower right)On the far side of the old port, is the area known as Le Panier, dominated by the recently constructed cathedral of Ste Marie Majeur.70.* Fish market near the rue Vacon, Marseilles. Inscribed and signed ‘Marseilles. 9. Octobre 1875./ Presiozi’ (lower right)The rue Vacon runs down to the old port of Marseilles.Messina and Malta71. The Straits of Messina.Inscribed ‘Canal de Messine/ du bord de L’Eridan[?]. 12 Octobre 75.’ and signed ‘Preziosi’ (lower right) 72. The Grand Harbour, Valletta, Malta. Inscribed and signed ‘Malta. Preziosi’ (lower left) and inscribed ‘Senglea.’ (lower right)This view from inside Valletta’s Grand Harbour shows, on left, the Custom House on the shore with the Upper Barracca Gardens above, and, on right, the bastion-enclosed point at Senglea, with its distinctive vedette, decorated with eyes and ears, symbolic of a lookout’s duties. On the water below, along with a small paddle steamer, are the traditional, dgħajjes, Maltese fishing boats.73. The Grand Harbour, Valletta, Malta.Inscribed and signed ‘Malta. Castello St. Angelo.’ (lower left) and ‘Valletta. Preziosi.’ (lower right)This view of the Grand Harbour from the sea shows on left Fort St Angelo, with Senglea point behind, and on right the city of Valletta, including the arcade in the Lower Barracca Gardens. Among the shipping on the water, a traditional dgħajsa is contrasted with a modern paddle steamer.74. Two young Maltese women in faldettas and an old sailor. Inscribed and initialled ‘Malta P.’ (lower left) In the background the Baroque Church of the Immaculate Conception in Cospicua (Bormla) can be seen.Syros, Izmir and the Dardanelles75.* The Harbour of Ermoupoli, Syros Inscribed ‘Palea Psaradica/ Syra 1875’ (lower left) and signed ‘Preziosi’ (lower right)Syros (Siros or Syra) is a Greek island in the Cyclades in the Aegean Sea, about 144 km south-east of Athens. The main town of Ermoupoli was an important port and shipbuilding centre in the 19th century. 76. The harbour at Izmir.Inscribed ‘Smyrne 1875 – ‘(lower left) and signed ‘Preziosi’ (lower right)Izmir is an ancient port, situated in the Gulf of Smyrna, by the Aegean Sea, and in Ottoman times was the second largest port in Turkey after Istanbul. In Preziosi’s time it had a great number of merchants of many nationalities dominating the import and export trade.77.* The Küçük Demir Han at Izmir.Inscribed and signed ‘Smyrne/ 1875. (lower left) and Couiouk demir/ Han/ Preziosi’ (lower right)The Küçük Demir Han, as its name suggests, was originally a small market for goods made of iron, but by the late 19th century many types of merchandise were sold there. With its arcades and tiled domes it is typical of many other such ancient Caravanserais that still exist in Turkey.78.* The Jewish Quarter, Izmir. Inscribed and signed ‘Smyrne/ du quartier Juif 1875 - / 1875 - / Preziosi –‘ İzmir is still home to Turkey's second largest Jewish community after Istanbul. The community is now concentrated in their traditional quarter of Karataş79.* Çanakkale fort at the entrance to the Dardanelles. Inscribed and signed ‘Dardanelles 1875. / Preziosi’Çanakkale was an Ottoman fortress guarding the Dardanelles called Kale-i Sultaniye or Sultaniye kalesi (Fortress of the Sultan). The district became known for its pottery, hence the later name 'Çanak kalesi or `pottery fortress’. 80.* Constantinople from Scutari at sunset (double page)Inscribed ‘Constantinople 1875.’ (lower left) and signed and inscribed ‘Preziosi / Scutari’ (lower right)This is a panoramic view of the skyline and the sea walls of Istanbul facing the Sea of Marmora. On the right can be seen the entrance to the Bosphorus, Leander’s Tower and the Asian shore.81.* Shipping at the entrance of the Golden Horn.Inscribed ‘Constantinople 1875 –‘ (lower left) and signed ‘Preziosi’ – (lower right)On the left, behind the sea walls, is the Sultan’s Palace of Topkapı Saray, built on the headland of Saray Burnu. On the right is the entrance to the Golden Horn, with its dense mass of shipping at anchor.

Saleroom notices

  • The provenance was omitted from the online catalogue and is as follows PROVENANCE: Catherine Castelli (nee Preziosi), the artist's daughter Thence by direct descent to the current owner
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