I have written several times about the need to locate multiple annotated copies of auction catalogues, because the annotations in any one copy cannot be trusted as reliable. And I have written (e.g. here) about the need to distinguish between the date on which a manuscript was sold and the date on which the auction commenced, because these are often not the same. In looking at the famous 1856 sale at Christie's of the collection of the poet Samuel Rogers (mentioned e.g. here), both these principles are exemplified, as will be discussed today and in next weekend's post.
The art collection of Samuel Rogers were sold at Christie's "On Monday, April 28, 1856, and eighteen following days":
There is a copy of the catalogue at the New York Public Library (available online through Google Books), which is very convenient for trying to trace ex-Ottley cuttings in Rogers' collection, but it is not annotated with prices or buyers' names:
On the page above the first item is the famous miniature of King David in armour from the Hours of Etienne Chevalier, by Jean Fouquet (of which an image is shown at the top of this blogpost); it is listed among the miniatures by named artists, separate from the unframed "illuminated miniatures" which follow.
A copy of the catalogue at the Getty Research Intitute (available online through Archive.org) was annotated selectively by someone who had an interest in Rogers' paintings and drawings, but not his manuscripts, portrait miniatures, etc.:
Another digitised copy (behind a paywall, so I cannot link to it) is annotated sporadically with prices, but not names; here we can see that the Fouquet miniature sold for £16 5s 6d, and the last item on the same page (lot 990 "A collection of fifty-five beautiful illuminated borders, with birds, flowers, and arabesques, on gold ground--from ancient missals") made £13 10s:
|[As usual, click images to enlarge]|