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534325 Los(e)/Seite
Los 1016
TV Film Evelyn Laye signed 10x8 black and white photo. Evelyn Laye CBE née Elsie Evelyn Lay; 10 July 1900, 17 February 1996 was an English actress who was active on the London light opera stage, and later in New York and Hollywood. Her first husband, actor Sonnie Hale, left her for Jessie Matthews, earning much public sympathy for Laye. Her second husband was actor Frank Lawton, with whom she often appeared in stage productions. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Los 859
TV Film Kristi Farrell signed risque 10x8 colour photo. Kristi Ferrell was born in 1960 in Lewisville, Texas, USA. She is an actress, known for Guiding Light (1952), Spiker (1985) and Seven Days to Kill (1994). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Los 61DK
Make & Model: BMW X3 SD M Sport ADate of Reg: YE07 ZLXColour: Greycc: 2993MoT: 29-10-2022Fuel Type: DIESELMileage: 87KTransmission: AUTOSummary: £5,950 of extras including navigation system, professional , Navada leather and 19' M Light alloys. Eight service stamps. Sold with no V5The V5C for this vehicle is missingVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=155768
Los 1
Alfred Wallis (British, 1855-1942)Boats with Rust Sails oil and pencil on card11.2 x 22.4 cm. (4 3/8 x 8 3/4 in.)Footnotes:ProvenanceSven Berlin, from whom acquired by Elizabeth Leach (Bernard Leach's daughter-in-law), thence by family descent to the present ownerPrivate Collection, U.K.It is likely that the present work depicts St Ives Bay and Godrevy Lighthouse/headland and various vessels are depicted in the bay. In the foreground, a St Ives fishing lugger is moored at anchor, the mizzen sail set to keep it to wind. Other gaff-rigged sailing boats pass nearby. In the top left of the composition is Godrevy Lighthouse, built to warn of a dangerous reef of rocks, known as The Stones, which lie to the seaward side of the light. These rocks are partly obscured by the sail of one of the boats.The present work is striking and somewhat rare in the earth toned sails of the vessels depicted. More commonly, Wallis focussed his palette on white, green, blue and black, a practice that was noted by Ben Nicholson:'Since his approach was so childlike one might have supposed that his severe selection of a few colours was purely unconscious, but I remember one day he was complaining that he was short of some colours, and when I asked him which he said he needed rock-colour and sand-colour, and I got these for him in the yacht-paint he was using. Kit Wood remarked that it might easily spoil his work to give him new colours when so much of its point depended on the use of a few, but it seemed to me that since he had asked for them he must be ready to deal with them. Next day he made a new painting using, of course, rock-colour for anything but rock and sand-colour for anything but sand, and keeping to his usual small number of colours; and as I went out, having admired the colour of the painting (we had, of course, not spoken to him about the number of colours he used), he said: 'You don't want to use too many colours''. (Ben Nicholson quoted in Exh.Cat., Two Painters, Works by Alfred Wallis and James Dixon, Merrell Holberton, London, 1999, p.105).The present and following two lots enjoy distinguished provenance having been in the collections of both Sven Berlin and the family of esteemed potter Bernard Leach, please see the note on Lot 3 for further information.For further information on this lot please visit Bonhams.com
Los 10
Dame Barbara Hepworth (British, 1903-1975)Stringed Figure signed and dated 'Barbara Hepworth 1966' (lower right); further signed, titled and dated again 'Barbara Hepworth/Stringed Figure 1966' (verso)oil and pencil on board76.2 x 61 cm. (30 x 24 in.)Footnotes:ProvenanceWith Gimpel Fils Gallery, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedNew York, Marlborough-Gerson Gallery, Barbara Hepworth, April-May 1966, cat.no.39 (ill.)London, Gimpel Fils Gallery, Barbara Hepworth, May-July 1966LiteratureAlan Bowness, Drawings from a Sculptor's Landscape, Cory, Adams & Mackay Ltd, London, 1966, cat.no.71 (ill.b&w)Stringed Figure was created at a time when Hepworth was at the peak of her career. In 1964, her most important and famous commission was unveiled at the United Nations Secretariat in New York, the monumental sculpture Single Form. In 1965 she was made a Dame Commander of the British Empire and also appointed a Trustee of the Tate Gallery, while exhibitions both at home and abroad further celebrated her work, with shows in London and New York, the Netherlands and Scandinavia. It was also however, a time of personal difficulty: she was diagnosed with cancer of the tongue in 1965 and underwent a lengthy and painful treatment for this. She wrote to Ben Nicholson in 1966: 'the last six months have been trying. The treatment (radium) for cancer seems to sap one's vitality & give one terrible fatigue. Even worse I could not eat anything & so got very weak. But I am pulling up now & my surgeon is pleased with me. I have worked – meanwhile - & I think well' (Eleanor Clayton, Barbara Hepworth: Art and Life, Thames & Hudson, London, 2021, p.239). As this statement shows, Hepworth was not one to be deterred by these difficulties, and strove even harder to appreciate the world around her, reflecting that: 'through all these health troubles one learns to live each hour with gratitude & open eyes' (ibid., p. 239). Showing her undaunted spirit when later in June 1967 she broke her leg while climbing aboard a helicopter to visit the Isles of Scilly, she later recalled in 1969 that: 'even breaking my leg was a good thing because it made me extend my arms as far as I could' (ibid., p.239). Clearly, Hepworth was not one to allow her creative drive to be diminished.Stringed Figure was created, then, when Hepworth was battling even through personal health difficulties to continue her artistic practice. The Cornish landscape continued to be an evergreen source of inspiration for her, the light, stone and sea informing so much of her work. Since first moving down to Cornwall in 1939 with Ben Nicholson and their triplets, and after several moves within Carbis Bay, in 1949 Hepworth bought Trewyn Studio in St Ives, where she lived from December 1950 until her death in 1975. Many of the paintings and drawings from 1960 onwards were made in Hepworth's Barnaloft studio flat, which had a view of Porthmeor Beach and the Atlantic Ocean. Stringed Figure has a palette which directly references the landscape which she was surrounded by; the tawny light brown of wet sand, the white of pale sand or breaking surf, and the turquoise of the sea and sky, the visible strokes which make up these washes of colour reminiscent of the striations of cloud, the ripples of breaking waves and tide-marks left in the sand. These sweeps of Cornish sea and sand were something she was to write about particularly poetically: 'The incoming and receding tides made strange and wonderful calligraphy on the pale granite sand which sparkled with felspar and mica.' (Barbara Hepworth, Drawings From A Sculptor's Landscape, London, Cory Adams & Mackay, 1966, p.13). The circle in the top right is also a reference to the natural world, being either sun or moon, both of which featured prominently in her work of this time and relate also to the pierced form in her sculpture. Drawings were for Hepworth a means of capturing new ideas for sculpture, and also – as she was to write in Drawings From A Sculptor's Landscape in 1966, the very year this piece was made – it was a life-affirming act. The above book contained the memorable artistic statement A Sculptor's Landscape from Hepworth, in which she wrote: 'Whenever I am embraced by land and seascape I draw ideas for new sculptures: new forms to touch and walk around, new people to embrace, with an exactitude of form that those without sight can hold and realize. For me it is the same as the touch of a child in health, not in sickness. The feel of a loved person who is strong and fierce and not tired and bowed down. This is not an aesthetic doctrine, nor is it a mystical idea. It is essentially practical and passionate, and it is my whole life' (ibid., p.11). Her use of language at such a testing time is very insightful, and her desire to draw is thus the realisation of this vital spirit, which in her words is 'strong and fierce'. The medium of oil and pencil is one which Hepworth favoured and the contrast of strong, definite graphite over washes of colour something which she particularly enjoyed. Writing about her method, she noted: 'Abstract drawing has always been for me a particularly exciting adventure. First there is only one's mood; then the surface takes one's mood in colour and texture; then a line or curve which, made with a pencil on the hard surface of many coats of oil or gouaches, has a particular kind of 'bite' rather like on slate; then one is lost in a new world of a thousand possibilities' (ibid., p.19). The swing of curving lines is here contrasted with the twisting tension of the diagonal strings, suspended between two arcs. Hepworth has further worked into the surface of the board with light abrasions which show the white of the primed board beneath, echoing the rough rocky surfaces of the landscape. The present lot is a fine example of her very sculptural way of drawing, and how she used this technique to chart and configure three-dimensional space. Seen amid Hepworth's great achievements and writings around this time, Stringed Figure is a work by an artist at the height of her career but also one whose depth of feeling was as strong as ever. Able to look back at her achievements and write authoritatively on them as well as her creative ideals – thrown into sharp relief by her recent health difficulties – this work speaks of a freshness and vitality which was constantly renewed by the remarkable landscape around her, especially given that when inspiration struck her first desire was to put pencil and oil to board. As she wrote so evocatively in the year this piece was made: 'A sculptor's landscape is one of ever-changing space and light where forms reveal themselves in new aspects as the sun rises and sets, and the moon comes up. It is a primitive world; but a world of infinite and subtle meaning. Nothing we ever touch and feel, or see and love, is ever lost to us. From birth to old age it is retained like the warmth of rocks, the coolness of grass and the ever-flow of the sea.' (ibid., p.13). Stringed Figure captures this impassioned and timeless love for the elements perfectly.We are grateful to Jenna Lundin Aral and Sophie Bowness for their assistance in cataloguing the present lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 13
Paul Feiler (British, 1918-2013)Italian Town, Spring signed and dated 'FEILER 55' (lower left); further signed, titled and dated again 'PAUL FEILER/ITALIAN TOWN, SPRING/20.2.55' (verso); and signed again 'PAUL FEILER' (on the frame)oil on board45.4 x 65.8 cm. (17 7/8 x 25 7/8 in.)Footnotes:ProvenanceAcquired by Mr Keith Steadman in the late 1950s, thence by family descent toPrivate Collection, U.K.Their sale; Bonhams, London, 18 November 2014, lot 156, where acquired by the present ownerFeiler visited Italy for three weeks in spring of 1953, returning for a second trip towards the end of the following year. Travelling with his wife June, and their three children (who were looked after by Paul's family in Bern) the couple toured through the northern lakes and onto the cities of Florence, Siena and Venice. These were working trips, with Feiler executing ten or so paintings in Italy on each occasion, and a similar number of Italian compositions in England following his return. The application and construction of these works parallels his concurrently produced Cornish works, but the treatment of colour varies to a degree. As with his Cornish works, the time of day (dusk, evening, early morning and so on), or as in the case of the present work the season, is often stipulated by title, and informs the overall palette. To punctuate the general tones, Feiler would employ vibrant contrasting pigments to provide moments of highlighting and shadow. In the Cornish works these are often part of his underpainting process so that just the slightest flash of lemon or indigo edges through swathes of white, steel grey and black. However, in the Italian scenes, notes of contrasting crimson or cadmium orange are daubed upon the surface of the work and therefore remain prevalent within the composition. This effect defines this series and demonstrates Feiler's response to the highly saturated light of Italy.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 41
Sir William Nicholson (British, 1872-1949)Still Life: Emile's Things signed and dated 'Nicholson/1912' (on the lower left of the mirror)oil on canvas92.2 x 71.4 cm. (36 1/4 x 28 1/8 in.)Footnotes:ProvenanceProbably acquired in the 1920s, or earlier, by the present owner's great auntPrivate Collection, U.K.The title of this unrecorded work by William Nicholson is the one used by the family in whose possession it has been since the 1920s, or earlier. 'Emile' was a dressmakers at 9 Hanover Square in Mayfair London, circa 1927-32, whose clientele was mainly debutantes and their mothers; the business was run by the vendor's great aunt. When and where she acquired the painting is not recorded – perhaps direct from the artist as so far it has not been possible to find any exhibition or other references to this work, whose original title has yet to be discovered.The handling of paint is typical of Nicholson at this period who so evidently enjoys the challenge of depicting surface textures and reflective surfaces. There is a dramatic use of light and shade, together with an equally exciting palette of orange, red and turquoise. The work is particularly interesting as part of Nicholson's search to find a rational for his increasingly large still-life's, and several motifs link it to other works of the period, such as the inclusion of a reflected figure in a still-life as in the untraced Still Life, in the Studio of 1911 (Reed cat.237).The composition with a collection of garments and accessories in front of an oval mirror reflecting a female figure recalls the earlier Souvenir de Marie (Dublin City Art Gallery, The Hugh Lane) of 1906. This was presented by the artist to Sir Hugh Lane with a dedication in 1912, the year in which the present work was executed. It is possible that Lane may have encouraged Nicholson to revisit the subject, here treated on a larger scale and in portrait rather than landscape format, but featuring the same black framed oval mirror. There are fewer items here, whose varied textures are skilfully depicted: a black felt hat with feather and a plaited leather band rests on the pale cream fur lining of a coat with an arm hole opening just discernible. Adjoining is the embroidered white lining of the turquoise silk garment to the right – perhaps an opera coat. A pair of ladies red leather walking shoes, made for a slender foot with an elegant French heel, are standing on the turquoise silk. A disconcerting position, while even more startling is the juxtaposition of the orange organza scarf behind. This is the development of a device that Nicholson had used the previous year in The Black Vase (Bradford Art Gallery) where yellow silk provides a single note of colour. The dried seed heads known as honesty, here in a slender glass vase with another spray resting against the mirror, also appeared in the three other works dating from 1911: The Black Vase and The Chinese Vase both in Bradford Art Gallery, and Honesty in a Staffordshire Jug.Nicholson's prominently displayed signature on a piece of paper tucked into the frame of the mirror can likewise be related to Souvenir de Marie - in the latter there is a label in a more conventional location, foreground right. The reflection of the label in the mirror suggests that this is a black mirror rather than the usual silver-backed one. Black mirrors appear in several still-life's of the period, for example China Figures and Black Mirror (Private Collection) of 1909.Although it was primarily colour and texture that dictated their selection, it is possible that whereas the garments in the Dublin painting are all historic or theatrical costumes, those depicted here are contemporary ones. The woman reflected in the black mirror is wearing contemporary evening dress, but in contrast to the opulence of foreground fabrics her gown is sketched out in white. The artist's interest is obviously more in the garments rather than in the woman, which must be evidence that this is not a portrait. There is also the somewhat imperious look on her face, half lost in shadow. (She has after all usurped the viewer's position in the mirror.) In this same year Nicholson painted the untraced Equestrian Portrait: The Lady in Green (Reed cat.254): a reviewer, Sir Claude Phillips, commented that the sitter regarded the onlooker 'with something that nearly approaches a sneer'. This is most unlike Nicholson and might suggest that he was having difficulties with female sitters at this time. The artist's gift of the Souvenir de Marie to Lane was in part thanks for securing him a major commission in 1912, the portrait of Lady Phillips (Johannesburg Art Gallery). Any other link to this commission would be purely speculative, and the woman in the mirror bears no physical resemblance to Lady Phillips. No doubt several portrait commissions before World War I were abandoned – the details of which are now lost – as female sitters proved difficult and unreliable, unlike the beautiful objects in the still life.The canvas bears the Chenil Gallery stamp found on several of Nicholson's canvases dating from the period 1909-1921. The gallery, which was near the artist's studio in the King's Road, Chelsea, sold artist's materials.We are grateful to Patricia Reed for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Los 6
Alfred Wallis (British, 1855-1942)The Flying Scud signed 'A. WALLIS' (upper right); and inscribed 'To Daphne/with wishes for the future/Affectionately/Sven/xmas. 1949.' (in Sven Berlin's hand, verso)oil on card23.5 x 29.8 cm. (9 1/4 x 11 3/4 in.)Footnotes:ProvenanceSven Berlin, 1949, by whom gifted to Daphne Hall Jones, thence by family descent to the present ownerPrivate Collection, U.K.Wallis gave up deep sea voyages in about 1880, shortly after his marriage to Susan Ward, and worked as a fisherman with the Newlyn and Mousehole fleets. He made many paintings of one particular vessel, Flying Scud, on which he had worked. The present work depicts this 1st class lugger, identifiable by its Penzance port registration 'PZ11' emblazoned across the side of the vessel and even shows five of the seven known crew members.The design of these lugsail fishing boats is particular to west Cornwall. With their distinctive outriggers and mizzen sails set at the stern, these were very effective sailing boats. They fished for mackerel, pilchards, and herring according to the season, using drift nets usually set at dusk and hauled at dawn or when the net was full. PZ11 is seen passing a lighthouse, which could be the Wolf Rock Light, which is seen when sailing from Mount's Bay. It is a notable and lonely sight; the lighthouse being built on a single isolated rock eight miles from Land's End.This lot enjoys interesting provenance having been in the collection of Sven Berlin and latterly gifted to Daphne Hall. In May 1949, Hall arrived in St Ives to convalesce and study under Leonard Fuller at the St Ives School of Painting. She quickly met Berlin in a local pub who introduced her to Guido Morris, a passionate printer and typographical designer who had established The Latin Press. Both men were immediately smitten by Hall, but it was Morris who won out and the pair were briefly engaged. Berlin continued to carry a torch however and the gift that Christmas (1949) of the present work and warm tone of his inscription verso, bears witness to this.For further information on this lot please visit Bonhams.com
Los 7
Alfred Wallis (British, 1855-1942)Steamer, Lifeboat and Lighthouse indistinctly signed 'alfred/wallis' (lower left), further signed 'alfred wallis' (centre right)pencil, charcoal and oil on board36 x 53.5 cm. (14 x 21 in.)Footnotes:ProvenanceJim EdeWith The Piccadilly Gallery, London, August 1962, where acquired byDudley Doust, thence by family descent to Private Collection, U.K.Their sale; Bonhams, London, 9 March 2011, lot 6, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Piccadilly Gallery, Alfred Wallis, 17 July-11 August 1962, cat.no.46Proportion is integral to the work of Alfred Wallis and understanding the value he placed on each element within his work. Ships, houses, trees, people and fish are not represented with realistic scale. Rather, the 'ancient mariner' would allow whichever aspect of the composition was most important to him to also become the largest. In the present work this takes on poignant meaning, both with the forms depicted and the physical scale of the board itself at 14 x 21 inches.Like most artists, he was often influenced by the events that went on around him, painting things he had seen, such as airships or shipwrecks. Of the latter, one in particular made a lasting impression – the wreck of the SS Alba. The Panamanian freighter had been carrying a cargo of coal from South Wales to Italy and ran aground on Porthmeor Beach during a storm in 1938. The St Ives lifeboat, Caroline Parsons, which was still rowed by lifeboatmen, capsized during the rescue mission and was washed onto the rocks but with her crew surviving the disaster. Wallis made a number of paintings of this subject but was perhaps more personally affected by a subsequent tragedy. Following the loss of the first lifeboat, a second was dispatched from Padstow, called John and Sarah Eliza Stych, and loaned to St Ives. On the night of 23rd January 1939, this boat was called out to help a ship in trouble but capsized three times before being washed onto the rocks at Gwithian, near Godrevy. Just one of the crew of eight survived and sadly there were no survivors of SS Winston. The loss was felt deeply in the community and 'Wallis was so upset by this event that he saved three weeks of his pension – his only means of livelihood at the time – and gave it to the lifeboat fund' (Robert Jones, Alfred Wallis, Artist and Mariner, First Light, 2018, p.186).In the present lot, the lifeboat is large and centre stage, the focus of this substantial painting for the artist. Wallis has painted her unmanned and resting in the calm water at the entrance to a harbour. The work can be seen as a touching tribute from a former seaman (and local man) who was well aware of the danger faced by the lifeboat every time she launched and was filled with quiet admiration for the men that worked her.For further information on this lot please visit Bonhams.com
Los 1615
PAOLO BUFFA (1903-1970) - A set of 8 walnut dining chairs circa 1940 with recent velvet upholstery, height 98cmGood condition, some signs of light wear all chairs have been refurbished. A set of 12 of these chairs were offered for sale by Wright20, Chicago Auctioneers 11.Dec.2014:Wright20, Sale of Important Design, 11.Dec 2014, lot 304, estimate 15,000-20,000 dollarsIn their listing, they note that those chairs were exhibited:Camera D?Artista: Italian Design, 1930-1960, July-Sept 2014, Villa Bertelli, Forte dei Marmi, Lu, Italy
Los 11
Flemish school; early 16th century."Ecce homo".Oil on panel. Engatillada.It has faults, losses and repainting.It has an ebony frame from the 16th century.Measurements: 24.5 x 18 cm; 30.5 x 24 cm (frame).Formally this work is dominated by the light treatment, very contrasted and effective, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene, reflected in the blood of the body that falls on Christ's body, contrasts with the austere and recollected attitude of the body's posture. It is this composition of the body that brings the artist closer to the Flemish school.This devotional canvas, painted for a private altar or chapel, depicts the theme of Ecce Homo, which is very common in this type of painting. The composition is simple and clear, with Christ's face in the foreground, and the absence of narrative details enhances the expressive power and pathos, designed to move the soul of the faithful who pray before the image, in a sense of tremendism very typical of the Baroque period in Catholic countries. The theme of Ecce Homo belongs to the Passion cycle and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, the symbolic colour of the Passion) and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in comparison with that of the rulers who were judging him. Formally, this work is dominated by the highly contrasted and dramatic treatment of light, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene is reflected in the blood of the body falling on the skin.
Los 29
Andalusian school, possibly from Seville, ca. 1700."Infant Jesus".Carved and polychrome wood. Eyes in vitreous paste. Hair. Silver base and cross.Measurements: 28 cm (height); 35 cm (total height).Polychrome wood carving representing the Child Jesus full-length and naked, which indicates that he was originally dressed in royal robes. It is a magnificently anatomically worked carving, of extraordinary naturalism, following the baroque canons of the Spanish school. The Child stands on a chiselled silver base, with its upper part reticulated and the corners ornamented with plant motifs. The cross and the child's shoes are made of the same material.Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content in order to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which it achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.
Los 101
GOULD (JOHN) AND RICHARD BOWDLER SHARPEThe Birds of New Guinea and the Adjacent Papuan Islands, Including Many New Species Recently Discovered in Australia, 25 original parts, FIRST EDITION, 320 hand-coloured lithographed plates by and after Gould and W. Hart, some heightened in gum arabic, publisher's 'Binding Notice' tipped into final part, occasional light spotting to a few plates and endpapers, publisher's cloth-backed printed boards with wood-engraved illustration of a Bird of Paradise on the upper covers, some light spotting [Anker 181; Ferguson 10033; Fine Bird Books p.78; Nissen IVB 373; Wood p.365; Zimmer p.262], folio, Henry Sotheran, 1875-1888Footnotes:FINE COPY IN THE ORIGINAL 25 PARTS. The last, and one of the most lavish, of Gould's full-scale works, the subjects including birds of paradise, kingfishers, parrots, honey-eaters, pitas, birds of prey, and other species. The last 12 parts were seen through to completion by the ornithologist Richard Bowdler Sharpe after Gould's death in 1881.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 102
GOULD (JOHN)A Monograph of the Macropodidae, or Family of Kangaroos, 2 original parts (complete), FIRST EDITION, 30 hand-coloured lithographed plates by H.C. Richter after Richter or Gould, letterpress slip inserted at end, light spotting to several plates, publisher's cloth-backed printed boards, light soiling, corners rubbed, old paper label ('Lot 37') pasted on upper cover of Part I [Ferguson 3197; Nissen ZBI 1662; Sauer 11; Wood p.365], folio (560 x 380mm.), Published by the Author, 1 August 1841-1 May 1842Footnotes:Rare first edition in the original parts, as issued without a title page, preliminaries or index. Gould intended to include these in the planned final third part, which was never published. Gould had travelled to Australia with his wife Elizabeth (who tragically died in the month the first part of 'Kangaroos' was published) in 1838, spending eighteen months collecting hundreds of specimens and observing the birds and mammals of the region. On his return he published this work, and, over a period of eight years his Birds of Australia.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 103
GOULD (JOHN)A Monograph of the Odontophorinae, or Partridges of America, 3 original parts (complete), 32 hand-coloured lithographed plates by J. Gould, and H.C. Richter, list of subscribers, prospectus tipped into first part, without the 'Directions to Binder' slip, occasional light spotting, publisher's cloth-backed printed boards, light soiling, spotting to upper cover of Part I [Anker 176; Nissen IVB 376; Great Bird Books p.78; Sauer 13; Zimmer p.257], folio (560 x 380mm.) , Published by the Author, 1 November 1844-1 November 1850Footnotes:First edition of Gould's first monograph on game birds, which he dedicated to the French ornithologist Prince Charles Lucien Bonaparte, author of American Ornithology. In the preface Gould noted that 'The graceful actions and elegant deportment of these birds [American partridge family] inspired me with a desire to become thoroughly acquainted with the entire group of which they form a part... in the course of my researches I have several times visited most of the public and many of the private collections of Europe, and have besides corresponded with various persons in America: the result is that I have had the pleasure of extending our knowledge of the group from eleven to no less than thirty-five species'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 105
SELBY (JOHN PRIDEAUX)Plates to Selby's Illustrations of British Ornithology, vol. 1 (of 2, and without text volumes), engraved pictorial title, 4 uncoloured engraved anatomical plates (numbered 1-4), 84 uncoloured engraved ornithological plates by and after W.H. Lizars, Robert Mitford, William Jardine and Selby (numbered 1-65, and 20 bis number plates, plate 32 not called for), light stain to one margin of plate 43, a few light spots to plate 58, contemporary calf, rebacked preserving most of original gilt-lettered spine ('Selby's British Ornitholgy. Part I. Land Birds'), corners and sides repaired [Nissen IVB 853; cf. Fine Bird Books p.141; Mullens & Swann p. 520; cf. Wood pp. 561-562; cf. Zimmer pp. 571-572.], large folio (645 x 510mm.), Edinburgh, Archibald Constable, [watermarked 1818-1821], sold as a collection of platesFootnotes:Selby's 'greatest work will ever be deemed his celebrated illustrations of Illustrations of British Ornithology... our English equivalent of Audubon's great work' (Mullens and Swann, p.518).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 107
ARISTOTLE'S MASTERPIECEAristotle's Compleat Master Piece. In Three Parts: Displaying the Secrets of Nature in the Generation of Man... To Which is Added, a Treasure of Health; or, The Family Physician... The Twenty-fifth Edition, frontispiece with full-page woodcut illustration recto and verso, 7 woodcut illustrations in the text, catchword cropped on 2 pages (p.123, and p.131), without the folding plate (not called for on ESTC), letterpress advertisement of 'William Grigg, Bookseller and Book-binder' of Exeter pasted inside upper cover, small light stain on pp.81/2, corners turned, contemporary sheep, worn with some losses to spine [OCLC 15877677], 8vo, Printed and Sold by the Booksellers, 1753Footnotes:A SCARCE EDITION. First published in 1684 all early editions are rare, presumably due to the book's risqué subject matter of women's bodies, sex, and pregnancy, which led it to be sold by 'country peddlers and in general stores and taverns; regular booksellers seldom advertised it, though they usually had it under the counter' (The Library Company of Philadelphia, 'Treasures', online catalogue). The attribution to Aristotle is totally spurious and was probably a vain attempt to give the work some measure of respectability; but although it was effectively banned until the mid-twentieth century, the prohibition didn't keep it from circulating. Such enduring popularity was partly due to the practical advice on pregnancy and the care of infants, and partly to its rather sensationalised descriptions of the sexual act and forms of monstrosity. ESTC lists an incomplete copy (Texas) of a twenty-fifth edition with a mutilated title-page as dating from 1753, but also 2 copies (Wellcome, and William Andrews Clark Memorial Library) of the twenty-fifth edition dated 1758, calling for a plate.This copy has an eighteenth century letterpress advertisement for 'William Grigg, Bookseller and Book-binder... over against Broad-Gate, Exeter... Printed by Andrew Brice, in Northgate Street, Exon' pasted inside the upper cover. This advertisement is not listed on ESTC, which does cite two similar advertisements (T167895 and N504282, each one copy only). Noting that Brice died in 1773, and Grigg was first known of in 1765 the date of publication is suggested to be c.1770. As well as selling books Griggs also is said to sell 'Dr. Hooper's Female Pills; Dr. Greenoughh's Tinctures for the Teeth' and other such remedies 'all warranted genuine', perhaps suggestive of the audience at which Aristotle's Master Piece was targeted.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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DICKENS (CHARLES)A Christmas Carol. In Prose. Being a Ghost Story of Christmas, FIRST EDITION, FIRST ISSUE, with title-page dated 1843 and printed in red and blue, the text uncorrected, 'Stave I' on p.[1] and light green endpapers, hand-coloured etched frontispiece and 3 plates after John Leech (one slightly foxed), 4 wood-engravings by W.J. Linton after Leech in the text, 2pp. advertisements at the end, occasional light soiling, publisher's cinnamon vertically-ribbed cloth, stamped in blind and gilt, g.e., shaken with a few gatherings working loose, covers and spine dampstained and with much of decoration worn or faded, preserved in solander box [Eckel pp.110-115; Smith II:4; William B. Todd, in The Book Collector, Winter 1961, pp.449-454], 12mo (164 x 100mm.), Chapman & Hall, 1843Footnotes:FIRST EDITION OF DICKENS'S FIRST AND MOST ENDURING CHRISTMAS BOOK. A Christmas Carol was published on 19 December 1843, priced at 5s. Dickens initially requested green endpapers but discarded them due to the colour rubbing off. Demand for the book probably grew at such a pace that the stock of yellow endpapers was soon exhausted, necessitating the use of the discarded green endpapers. So although the green endpapers were produced first, the first copies issued had yellow endpapers. William B. Todd concluded that priority was impossible to determine due to the use of different stocks of text and plates, but that priority could be determined by the state of the binding. This copy appears to be his first impression, first issue, first state, with a gap of 14-15mm. between the closest points of the blind-stamping and gold wreath on the upper cover, and the 'D' of 'Dickens' unbroken, but it is hard to be sure due to the condition.Provenance: W. Jones, ownership signature on front paste-down.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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NAVAL – MISCELLANYGroup of miscellaneous correspondence from Naval commanders, taking in the French Revolutionary Wars, the Rio de Janeiro station and the discovery of the descendants of the Bounty mutineers on Pitcairn, comprising: Autograph letter signed ('Hood') to 'My dear Sir', sending best wishes on his voyage, informing him that 'The instructions respecting the Ariel will be dispatched to you by a messenger tonight', and discussing the appointment of Mr Fraser who is to be Lieutenant, and others, 2 pages on a bifolium, some staining, 4to (234 x 190mm.), Admiralty, 3 February 1789Autograph letter signed ('Howe') to Isaac Heard Esq, Garter King of Arms ('Sir'), acknowledging his congratulations for his great victory against the French fleet on the 'Glorious First of June', one page, stained, 4to (243 x 194mm.), Portsmouth, 18 August 1794Near contemporary copy of Sir Thomas Staines' despatch to the Admiralty reporting his unexpected discovery of Pitcairn Island and his encounters with the descendants of the mutineers of the Bounty; with later notes and pen trials in another hand, 2 pages, dust-staining and marks, tears at folds, frayed with some losses, folio (415 x 330mm.), 'Briton, Valparaiso, 18 October 1814'Autograph letter signed ('Henry Hotham') to Admiral Lord Keith ('My dear Lord'), marked 'Private', reporting on the ships in the Gironde ('...the White Flag being established in all the Ports...'), going on '...Since the troops who have acted under the tricolor flag have been withdrawn from the country & La Vendee, the Royalists have drawn larger supplies of arms than before... I have reason to suspect that some part of the articles they have received from us have been and will be put to their private uses and amusements...', concluding '...The White Flag flies everywhere around this bay, and at L'Orient...', 4 pages on a bifolium, dust-staining particularly on verso where folded and exposed, creased at folds, 4to (230 x 185mm.), 'Superb, Quiberon Bay', 26 July 1815Copy letter signed ('Jn Barrow') to Rear Admiral Sir Michael Seymour, marked 'Duplicate', enclosing a copy of a letter from the Under Secretary of State and two extracts from despatches received from His Majesties Consul General in Peru complaining of the lack of protection offered to British subjects and commerce by His Majesty's ships in the Pacific [present], 20 pages, light dust-staining, one report held with silk thread, folio (315 x 200mm.), Admiralty, 23 August 1834; with copies of nine official letters, engraved with manuscript insertions, one manuscript, all signed by Sir John Barrow ('Jn Barrow') to Rear Admiral Sir Graham Hamond, Commander in Chief at Rio de Janeiro, enclosing in each case a printed memorandum for distribution to the captain of each vessel under his orders, c.19 pages on bifolia, Britannia watermarks, folio (315 x 195mm.), Admiralty, 23 October 1834 to 28 January 1836Footnotes:'THE WHITE FLAG FLIES EVERYWHERE AROUND THIS BAY AND AT L'ORIENT': Admiral Sir Henry Hotham writes from Quiberon Bay on the surrender of the French; Viscount Howe acknowledges a letter of congratulations from the Garter King of Arms after his great naval victory; explorer and Secretary to the Admiralty John Barrow oversees British interests in South America; and Sir Thomas Staines reports on the discovery of the descendants of the Bounty mutineers.The copy of the Staines despatch was found among the papers of Dr. George Bellamy, naval surgeon and later Mayor of Plymouth from 1811-12 (the Briton had arrived in Plymouth in April 1815). The later comments on the manuscript may well be his. Thomas Staines (1776-1830) was not the first to discover the mutineers, that credit went to Captain Mayhew Folger of Nantucket on the Boston sealer Topaz who had landed in Pitcairn in October 1808, eighteen years after the mutiny. A Narrative of the Briton's Voyage to Pitcairn Island by its first Lieutenant, John Shillibeer, was published in 1817.For further information on this lot please visit Bonhams.com
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GOETHE (JOHANN WOLFGANG VON)Autograph sentiment signed ('J.W.v. Goethe'), the second stanza of the poem 'Ilmenau', comprising six lines written in Sütterlinschrift beginning 'Wie kehrt ich oft mit wechselndem Geschicke...' ['How often I return with changing fortunes...'], one page, light dust-staining, remains of red wax seal, one small pin hole not affecting text, remains of marbled paper on reverse where previously mounted, mounted and framed, unexamined out of frame, oblong 8vo (150 x 210mm., with frame 405 x 405mm.), [3 September 1783]Footnotes:'WIE KEHRT ICH OFT MIT WECHSELNDEM GESCHICKE, ERHABNER BERG!'Ilmenau was a private poem written for the twenty-sixth birthday of Karl August, Duke of Saxe-Weimar-Eisenach (1757-1828) on 3 September 1783. In it the Duke escapes courtly society and his wild past into a dream world of the beautiful valley of the Ilm, the poet hoping that he will soon develop his true nature, thus referencing his own 'Sturm und Drang' period. As Goethe explained to Eckermann in his Conversations of Goethe: '...'The poem of 'Ilmenau'... contains, as an episode, an epoch which, in the year 1783, when I wrote it, had happened many years before, so that I could describe myself in it as an historical personage, and could hold a conversation with the self of former years... the Duke soon worked himself out of this 'storm and stress' period into a state of useful clearness, so that on his birthday, in the year 1783, I could well remind him of this image of his earlier days... I will not deny that in the beginning he caused me much trouble and anxiety. Yet his noble nature soon cleared itself, and formed itself to the highest degree of perfection, so that it was a pleasure to live and act with him'...' (23 October 1828). According to Ronald Gray, after a lively and promising start with some reminders of the youthful Goethe, the poem transitions rather unsuccessfully in style and content '...where the peasants and miners who were leading miserable lives at the beginning of the poem are suddenly said to be fully employed and contented. In the end, Goethe seems more concerned to make a tactful suggestion to the Duke about the running of his estates than to pursue his deeper problems any further... Despite several pleasing and amusing passages, Ilmenau marks the beginning of a period when Goethe would only rarely write poetry of distinction...' (Gray, R., Poems of Goethe: A Selection, 1966, p.66).Goethe had been invited to the court at Weimar in 1775 after the success of his first novel The Sorrows of Young Werther and was to remain there for the rest of his life. He held a succession of offices including Commissioner for Mines and Highways which required him to regularly visit the small mining town of Ilmenau, from where he was able to escape into the mountains, away from the pressures of his duties. The surrounding landscape inspired one of his most famous poems, Wanderers Nachtlied which he wrote hurriedly on the walls of a wooden hut on the Kickelhahn mountain, a work which epitomises his love of the natural world and the local landscape.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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TARLETON (SIR BANASTRE) – COMMONPLACE BOOKAutograph poem signed 'Banastre Tarleton' and dated 'January 1825' entitled 'Susan's Abode', comprising eight lines on his house in Lintwardine beginning 'The young, the old, the poor combine, To welcome thee to Lintwardine...' and illustrated by a pen and ink sketch of the house, written in a commonplace book dedicated to 'To/ The Lady Willoughby/ from/ Banastre & Susan Tarleton', with ownership inscription 'Priscilla Tarleton', containing poems and other writings in several hands including that of Susan Tarleton and Banastre Tarleton, a number of verses and illustrations initialled 'B.T.' including a tribute to the late Robert, 4th Duke of Ancaster and Kesteven ('...An eye witness of his conduct in America submits this inadequate testimonial to the noble family of Grimsthorpe Castle...'), also including tributes to Lady Willoughby and the Marchioness of Cholmondeley, 'An acrostic written in a storm on the 8th of February 1816... to the Baroness Willoughby de Eresby, on her birthday...', 'Lines supposed to be written at Waterloo', 'To Lady Tarleton', 'On Women', interspersed with historical notes on the great deeds of the Willoughby family and copies of verses by Byron, Burns, Lady Caroline Lamb, Moore, Scott, Mary Tighe and others; illustrated throughout with some 50 pen, ink and watercolour illustrations and delicate vignettes by the Tarletons to complement the verses, including a decorative floral and foliate frontispiece dedicated to Lady Willoughby depicting her portrait surrounded by putti holding the accoutrements of the Arts, c.130 leaves (c.40 blank), watermark W Turner & Son, a few minor tears and offsetting, contemporary russia blindstamped and gilt with etched brass clasp, silk endpapers, g.e., rebacked preserving original spine, 4to (225 x 180mm.), c.1820'sFootnotes:'THE YOUNG, THE OLD, THE POOR COMBINE, TO WELCOME THEE TO LINTWARDINE': A fine commonplace book of verses and drawings, a joint collaboration between Sir Banastre Tarleton (1754-1833), notorious army officer and politician, made infamous through his exploits in the American Revolutionary Wars as leader of the 'Tarleton Raiders', and his wife Priscilla Susan Bertie Tarleton (1778-1864), fondly dedicated to Priscilla Tarleton's aunt Lady Willoughby,Banastre Tarleton married Priscilla Bertie, the wealthy illegitimate daughter of his friend Robert Bertie, 4th Duke of Ancaster and Kesteven and 20th Baron Willoughby de Eresby (1756-1779), after a whirlwind romance in 1798. After having gambled away his inheritance, Tarleton had purchased a commission in the 1st Dragoon Guards and served with Bertie during the occupation of Philadelphia in the American Wars of Independence, where his ruthless reputation earned him the sobriquet 'Bloody Ban'. When Bertie died young at the age of 22, the young Susan was taken in by her paternal grandmother, Mary Bertie the dowager Duchess of Ancaster and Kesteven at Grimsthorpe Castle. A sketch of the castle accompanied by a verse titled 'An Epilogue' comprises the first item in the book. The couple met in 1798 at Houghton Hall in Norfolk then, as now, the seat of Lord Cholmondeley, Susan's uncle by marriage, and were married three months later. Well-educated, pretty, accomplished in drawing, music and languages, reckless in many ways but disapproving of drinking and gambling, she was a vivacious and popular member of London society. Her marriage to the virtually penniless soldier older than her own father and with a notorious reputation raised many eyebrows at the time but their thirty-five year marriage stood the test. She accompanied him to Portugal, Ireland and throughout postings in England until his retirement and they ended their married life at Leintwardine in Herefordshire, which features several times in our book as an earthly paradise ('...A ray of heav'nly light is thine, Seen in thy works at Lintwardine...'). Their fondness for each other is also evident in several of the verses –- in 'To Lady Tarleton' he writes 'By ambition tormented, by fortune sore crossed/ Without little Sue, I had paradise lost/ Although deep sunk in debt, yet my fame was unstained/ And winning Sweet Susan, I paradise gained/ B.T.', but a flash of the old rake is still evident in his verse 'On Women' - 'You are stars of the night, you are gems of the morn... Her smile is our need, or her bosom our pillow' he writes.As the ownership inscription shows, Susan Tarleton often varied the use of her names. Whilst official documents, including the parish records of her birth and marriage, give it as Susan Priscilla, she also used Susan or Priscilla, as in this volume. Her drawings are highly accomplished and she is also known to have contributed illustrations to be engraved for an anthology of Romantic poetry The Wild Wreath (1804) by Mary Elizabeth Robinson, the daughter of her husband's ex-mistress Mary (Perdita) Robinson. Despite losing two fingers from a musket ball received in his right hand during the Battle of Guildford Courthouse in North Carolina, Banastre Tarleton also appears to have lent his artistic talents to our volume, with many illustrations initialled 'B.T.'. Our volume would appear to be presented to Susan's aunt, Priscilla Barbara Elizabeth Bertie (1761-1828) who became 21st Baroness Willoughby de Eresby in 1780 after her brother Robert's death. It contains many historical tributes to the Willoughby and Bertie families and references the family name in a finely-drawn frontispiece. Susan's other aunt Georgiana Charlotte Bertie (1764-1838) married George Cholmondeley, 1st Marquess of Cholmondeley at whose country seat she met her future husband. It was through this marriage that the Cholmondeleys acquired the hereditary office of Lord Great Chamberlain which had been previously been held by Robert Bertie.Provenance: Private UK Collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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TIGHE (MARY)Psyche, or The Legend of Love, FIRST EDITION, AUTHOR'S PRESENTATION COPY TO THE PAINTER JAMES BARRY, inscribed on title-page 'To James Barry Esq., from M Tighe 1805', wide margins, title slightly stained at foot, contemporary green straight-grained morocco, sides gilt ruled and panelled, with floral corner-pieces and outer border, agate on-lays to each cover, spine in five separate compartments with raised bands, tooled and lettered in gilt and blind, gilt clasp set with gems, very light rubbing to foot of spine, gilt turn-ins, yellow watered silk endpapers, g.e., housed in a contemporary velvet-lined, gilt-tooled diced russia box, with gilt lettering on spine, rubbed, to joints split [P.R. Feldman and B.C. Cooney, Collected Poetry of Mary Tighe, p. 590, citing this copy], 16mo (250 x 94mm.), [C. Whittingham for James Carpenter], 1805Footnotes:A SEMINAL WORK OF IRISH ROMANTICISM INSCRIBED BY THE AUTHOR IN AN EXQUISITE OPULENT CONTEMPORARY BINDING. According to Paula Feldman, joint editor of The Collected Poetry of Mary Tighe, the binding is far more ornate than any of the other copies she has examined, and is especially unusual for the addition of the Wedgwood style cameo, ornate metal lock, semi-precious stones, and agate onset, which she believes may have been added by a subsequent owner to the original binding and endpapers especially commissioned by the author.Irish poet Mary Tighe (1772-1810) '...was a crucial force in shaping British Romanticism. With remarkable vitality and virtuosity, her poetry engaged the central issues of the period, often in advance of writers now considered canonical, and commanded the attention and respect of her contemporaries.... These poems demonstrate the technical virtuosity with which Tighe movingly wrote about the tensions between love and loss, duty and desire, the spiritual and the sensuous, loyalty and betrayal, nation and family, the Irish and the British, and much more, while struggling with debilitating illness...' (Paula R. Feldman & Brian C. Cooney, The Collected Poetry of Mary Tighe, 2016, p.1).Tighe published only one work in her lifetime, Psyche; or, the Legend of Love, which was put out in a private edition of fifty copies for the benefit of family and friends in 1805. However, whilst having many admirers amongst her literary circle (including Thomas Moore, Joseph Cooper Walker and the Ladies of Llangollen) it was the posthumous publication of Psyche, with Other Poems, in 1811 and in several later editions, that made her name widely known and established her literary reputation.The decorative on-lay on the upper cover is a copy of a Wedgwood design by John Flaxman of 1776 depicting a procession of putti guiding the bound and draped Cupid and Psyche to their wedding. Here, however, one figure on the far right hand-side has been omitted. The decorative on-lay on the lower board is a cameo of a female figure in profile, possibly the author herself. Although the binding is unsigned, according to Philippa Marks of the British Library, it can be attributed to the workshop of Rodwell, Golden Square, London. In fact, the British Library holds a copy of a work by Juan de Flores (G102030) with a binding signed by Rodwell which is characterised by identical floral corner pieces to those on this book (Law, E., 'Psyche: or the Legend of Love, 1805', Old Kilkenny Review, 65 (2013), p.45).For a manuscript notebook of her poems, see our Women Through History sale on 23rd March 2022, lot 153.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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SHAKESPEARE (WILLIAM)The Works... with notes... by Mr. Theobald, 7 vol., engraved portrait, half-titles to volumes 2-7 (all correctly numbered, not present in volume 1), occasional soiling and light browning, stain to title of volume 7, contemporary calf, rebacked and recornered, polished spines with gilt-ruled compartments and red labels [Jaggard 499; Lowndes IV, 2259], 8vo, A. Bettesworth and C. Hitch etc., 1733This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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SHAKESPEARE (WILLIAM)The Works... Carefully Revised and Corrected by the Former Editions, 6 vol., engraved portrait, some foxing, contemporary calf gilt, red morocco spine labels, slight wear to head of spines, one or two joints starting, J. & P. Knapton etc., 1745; Twenty of the Plays... by George Steevens, 4 vol., a little light browning, contemporary calf gilt, covers with Holland House gilt armorial stamp, rebacked, spines slightly darkened, J. & R. Tonson, 1766, 8vo (10)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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HOGARTH (WILLIAM)The Works... from the Original Plates Restored by James Heath, Esq., R.A.; with the Addition of Many Subjects Not Before Collected... and Explanations of the Subjects of the Plates, by John Nichols, 155 engraved illustrations on 119 sheets (as called for), light dampstain in margin of frontispiece, and crease to first 11 plates, small ink spot on plate 75, plates 42 and 43 shaved at one margin touching imprint, half morocco over cloth, gilt lettered on upper cover, g.e., neatly rebacked preserving original decorative gilt spine, folio (640 x 464mm.), Baldwin, Cradock, and Joy, 1822This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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SHAKESPEARE (WILLIAM)The First Collected Edition of the Dramatic Works, facsimile of the first folio of 1623, Theodore Martin's copy, light browning and a little spotting, red morocco gilt by Zaehnsdorf, sides with triple gilt borders and central Shakespearian armorial device, elaborate gilt spine with raised bands, inner gilt dentelles, g.e., front hinge slightly weak, rubbed at edges, folio, Day & Son, 1866This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![[SHAKESPEARE]Shakspeare's Jest Book, 3 parts in 1 vol., EDITH WHARTON'S COPY, with her bookplate, occasional very light brow](https://cdn.globalauctionplatform.com/8371dcd4-571c-4dd7-83f9-aeae010c756c/711fa5e0-c4bb-46d7-bb3b-aeae0111a9b1/468x382.jpg)
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[SHAKESPEARE]Shakspeare's Jest Book, 3 parts in 1 vol., EDITH WHARTON'S COPY, with her bookplate, occasional very light browning and offsetting, contemporary brown morocco, gilt tooling and ornamental decoration to covers and spine, spine with gilt label and date at foot, g.e., extremities a little rubbed, morocco solander box, Chiswick, C. Whittingham, 1814-1815--CHALMERS (GEORGE) A Supplemental Apology for the Believers in the Shakspeare-Papers being a reply to Mr. Malone's Answer..., occasional foxing, light offsetting and browning, near contemporary manuscript notes inserted on paper slips, some modern pencil inscriptions in margins, later dark green half morocco with original marbled sides, gilt lettering and date on spine, minor rubbing and wear to covers and extremities, an extract of the New London Review dated to October 1799 bound in, T. Egerton, 1799--DOUCE (FRANCIS) Illustrations of Shakspeare and of Ancient Manners with Dissertations..., 2 vol., woodcuts in the text throughout, title-pages in red and black, very occasional foxing and age-toning, contemporary half calf, gilt label, tooling and ornamental decoration to spine, shelf-wear to covers, Longman, Hurst, Rees, and Orme, 1807, 8vo (4)Footnotes:Shakespeare's Jest Book is from the library of Edith Wharton at Le Pavillon Colombe, the author's last home in Saint-Brice-sous-Forêt, France. By the end of her life Edith Wharton had collected more than 4,000 books, which included a wide range of authors - such as Flaubert, D'Annunzio, Shakespeare and Dostoyevsky – and subject matters ranging from histories of religion to popular science, astronomy and poetry. Loosely inserted is a newspaper article by Hermione Lee (2 August 1998, The Observer) on her library.Provenance: Edith Wharton, bookplate; leather armorial book label with motto 'Nec Temere Nec Timide'; John Porter, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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STANSFELD (JAMES)Illuminated manuscript address 'To the Right Hon. James Stansfeld, G.C.B., M.P.' by Goodall & Suddick of Leeds, 7 full-page illustrations (arms of the City of Halifax and 6 bunches of flowers), opening leaf with Stansfeld arms and motto, 5 pages of text within decorative ruled borders, initials gilt and outlined in pale blue, all on thick album leaves, SIGNED AT END BY 20 FEMALE REFORMERS, 2 further signatures pasted in, occasional light soiling, dark brown morocco by Goodall and Suddick, gilt lettered on upper cover, silk doublures, 4to (255 x 195mm.), [?October 1895]Footnotes:'OUR DEMAND THAT MARRIAGE SHALL NO LONGER BE STAMPED WITH THE BRAND OF LEGAL DISABILITY': twenty-two key figures express their gratitude to Sir James Stansfeld. Stansfeld (1820-1898) was a Radical and Liberal politician and social reformer, who championed the cause of women's rights. 'You were the first Minister of the Crown to set the example of employing a Woman in the higher range of an Administrative Government Department. In the beginning of our struggles for the Medical Education of Women, led by our colleague, Sophia Jex-Blake, you espoused our cause... English wives must have the same electoral freedom which is claimed for the unmarried.'Signed by Josephine E. Butler, Ursula M. Bright, Florence Fenwick Miller, Jessie White Vedova Mario, Jane Cobden Unwin, Sophia Jex-Blake ('Sophia Jex-Blake M.D.'), Priscilla Bright McLaren, Eliza Wigham, Anna M. Haslam, Isabella M. Tod, Esther Blakey, Jane Eleanor Crossley, Ellen Edmondson, Mary Ann Priestman, Mary J. Rowntree, Maria Richardson, Alice Cliff Scatcherd, Celia Walker, Elizabeth Woodhead, Ellen E. Waite, Linda Villari, and Elizabeth James (these last two pasted in).The Women's Library at LSE holds the records of the James Stansfeld Memorial Trust, including papers regarding the presentation of the Women's Testimonial to James Stansfeld in 1895.Provenance: The Phyllis & Jim Bratt Woman's Suffrage Collection, purchased at a postcard fair in York in 1994.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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INDIAANDERSON (JOHN CORBET) To India and Back by the Cape. By a Traveller... Subscriber's Copy, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Joseph Menear from the Author, with very kind regards and best wishes for himself & family, Sutton, Surrey, October 7th, 1875' on the title-pages, list of subscribers, 19 lithographed plates with tissue guards, illustrations in the text including a map hand-coloured in outline, opening gathering working loose, light dampstain to one corner of approx. 10 plates, 3 with short marginal tear, publisher's blue pictorial cloth gilt, g.e., corners worn, some loss to spine [Abbey Travel 524; Mendelssohn IV, p.510], 4to, Croydon, John C. Anderson, 1859Footnotes:Author's presentation copy of his self-published guide book for travellers to India, dedicated to 'widows and orphans of English soldiers who have fallen... upon the plains of Hindostan', and illustrated with fine views including Ceylon, Madras, Calcutta, Bombay, Mauritius, Madeira and Tristan da Cunha.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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CHRISTIE (AGATHA)Murder on the Orient Express, FIRST EDITION, light spotting, publisher's orange cloth, spine soiled, some uneven fading, 8vo, Collins for the Crime Club, [1934]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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FLEMING (IAN)Diamonds Are Forever, FIRST EDITION, upper corner tips of 5 pages turned, publisher's black cloth stamped in silver-gilt (very light rubbing to head of spine), dust-jacket (spine ends and corners and short tear to upper cover professionally restored) [Gilbert A4a(1.1)], 8vo, Jonathan Cape, [1956]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 183
FLEMING (IAN)From Russia, With Love, FIRST EDITION, publisher's black cloth with gun and rose design in gilt and red on upper cover, small light stain at front edge of text block, dust-jacket (spine slightly darkened, slightly frayed at corners) [Gilbert A5a(1.1)], 8vo, Jonathan Cape, [1957]Footnotes:Provenance: ?S. Ashley, name in biro on front free endpaper.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 185
FLEMING (IAN)Goldfinger, FIRST EDITION, publisher's gilt-stamped cloth, dust-jacket (light soiling, very small abrasion to front beside letter 'R', light pencil price adjustment on front flap) [Gilbert A7a(1.2)], 8vo, Jonathan Cape, [1959]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![FLEMING (IAN)Thunderball, ownership name and bookseller's ticket on front endpapers, jacket price-clipped [Gilbert A9a(1.1)]](https://cdn.globalauctionplatform.com/8371dcd4-571c-4dd7-83f9-aeae010c756c/3bb86957-bd18-4541-8b2e-aeae0111c264/468x382.jpg)
Los 186
FLEMING (IAN)Thunderball, ownership name and bookseller's ticket on front endpapers, jacket price-clipped [Gilbert A9a(1.1)], [1961]; On Her Majesty's Secret Service, small tape mark on front free endpaper, upper edge of text block toned, jacket front flap stamped 'Add 6d. for price in South Africa' next to price, spine lightly toned [Gilbert A11a(1.1)], [1963]; You Only Live Twice, jacket spine panel with small arc of light dampstaining at foot and 2 very faint traces of tape marks [Gilbert A12a(1.1)], [1964], FIRST EDITIONS, publisher's cloth, dust-jackets, 8vo, Jonathan Cape (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 189
HARRIS (JOEL CHANDLER)Uncle Remus. His Songs and His Sayings. The Folk-lore of the Old Plantation, FIRST EDITION, FIRST ISSUE, with 'presumptive' on p.9 and no mention of the work in the advertisements at the end, frontispiece and illustrations by Frederick S. Church and James H. Moser, patterned grey endpapers, publisher's blue pictorial cloth gilt, minor rubbing at spine ends with light marks on spine [BAL 7100; Grolier American 83], 8vo, New York, D. Appleton and Company, 1881Footnotes:First edition of Harris's popular retellings of African-American folk tales and myths.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 191
JOYCE (JAMES)Ulysses, NUMBER 623 OF 750 COPIES ON HAND-MADE PAPER, from an overall edition of 1000, half-title, untrimmed in publisher's blue wrappers, old light (?tea) stain on lower cover (extending to final 2 blanks), very light stain in lower fore-corner of upper cover, extremities of spine slightly frayed with horizontal tear at foot, upper hinge starting [Slocum & Cahoon A17], 4to (238 x 188mm.), Paris, Shakespeare and Company, 1922Footnotes:The first edition of perhaps the most celebrated and influential novel of the twentieth century, in the distinctive unrestored blue wrappers.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 195
KENNEDY (JOHN F.)Colour portrait photograph depicting John F. Kennedy sitting behind the Resolute desk in the Oval Office, by Robert LeRoy Knudsen, signed and inscribed in black ink on the mount to his brother-in-law Peter Lawford ('For Peter – who helped make this picture possible – with all of the best – Jack – '), light toning, slight discolouration to mount, image c.440 x 370mm., framed and glazed, overall 660 x 580mm., unexamined out of frame, Washington, [2 November 1961]Footnotes:'FOR PETER – WHO HELPED MAKE THIS PICTURE POSSIBLE': PRESIDENT JOHN F. KENNEDY'S GRATEFUL DEDICATION TO HIS BROTHER-IN-LAW PETER LAWFORD.Glamorous British actor Peter Lawford (1923-1984) married Kennedy's younger sister Patricia in 1954 and became a US citizen in 1960 in time to vote and campaign for his brother-in-law and the Democrats in the presidential election of the same year. Friends with the Rat Pack 'board members' Frank Sinatra, Dean Martin and Sammy Davis, Jr., he garnered their support for Kennedy and was instrumental in coaching Kennedy for his crucial debate against Richard Nixon. Lawford (affectionately known as 'brother-in-Lawford') therefore held a unique position at the intersection of politics and showbusiness, to the mutual benefit of both. It was through Lawford, via Sinatra, that Kennedy met Marilyn Monroe and he has been dubbed 'the man who kept the secrets' for his discretion and connections. Robert LeRoy Knudsen (1929-1989) served as the White House photographer during the administrations of five Presidents from Truman to Nixon. Among his most famous photographs were the series of John Kennedy, Jr. as a toddler in the Oval Office of May 1962, and he was also to take Kennedy's autopsy photographs a year later. A smaller copy of this photograph is held in the John F. Kennedy Presidential Library and Museum, accession no. KN.C19364, which confirms the date of the sitting and photographer.For further information on this lot please visit Bonhams.com
Los 200
LE CARRÉ (JOHN)Call for the Dead, FIRST EDITION OF THE AUTHOR'S FIRST BOOK, SIGNED BY HIM on the title-page, half-title, publisher's brown cloth, dust-jacket (very faint light stain on rear cover, small area of abrasion to spine and band of uniform light toning on verso only but overall exceptionally bright), 8vo, Victor Gollancz, 1961Footnotes:EXCEPTIONALLY BRIGHT SIGNED FIRST EDITION OF THE AUTHOR'S FIRST PUBLISHED WORK, which marked the first appearance of George Smiley. Scarce, only a handful of signed copies having appeared at auction in the past decade and rarely in such fresh condition.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 201
LE CARRÉ (JOHN)Call for the Dead, FIRST EDITION OF THE AUTHOR'S FIRST BOOK, SIGNED BY HIM on the title-page, half-title, light toning, a few old marks to front free endpaper, publisher's red cloth (a little rubbed at extremities, upper hinge slightly weakened with a few spots), dust-jacket (expertly restored at spine ends, corners, one flap edge, and corner tip), 8vo, Victor Gollancz, 1961Footnotes:FIRST EDITION, SIGNED ON THE TITLE-PAGE, OF THE AUTHOR'S FIRST PUBLISHED WORK, which marked the first appearance of George Smiley.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 203
LE CARRÉ (JOHN)The Spy Who Came in From the Cold, FIRST EDITION, SIGNED BY THE AUTHOR ON THE TITLE-PAGE, single name ownership inscription on front free endpaper, publisher's blue cloth (light fading at extremities of spine and top edge of boards), dust-jacket (very minor abrasion at head and foot of spine, a few light marks on lower cover but generally clean), preserved in cloth solander box, 8vo, Victor Gollancz, 1963Footnotes:An unusually good copy, the dust-jacket spine being bright and unfaded.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 212
MANTEL (HILARY)A twentieth century pine desk belonging to Hilary Mantel, the rectangular top above a kneehole enclosed by nine drawers, on a plinth base, INSCRIBED BY MANTEL inside the central drawer 'Hilary Mantel / her desk till 2022', 137cm wide x 65cm deep x 79cm high, together with various contents such as a wax seal, several Hilary Mantel bookmarks, a box of 'Mirror and the Light' pencils, a small mounted promotional print of the 'Wolf Hall' and 'Bringing up the Bodies' dramatisations at RSC, programmes for the same, and 5 signed paperbacks of Mantel titles (small group)Footnotes:THE DESK AT WHICH WOLF HALL WAS WRITTEN. In an accompanying autograph letter letter addressed to the buyer of the present lot ('Dear owner'), Dame Hilary Mantel writes, 'This desk was made for me in Holt, in Norfolk,' before she moved to Woking. 'Soon after, its real work began - 15 years on the Wolf Hall trilogy, beginning in Surrey, continued in Devon, & concluded here, in the room from which I write to you.'Mantel wrote all her novels since the 1994 A Change of Climate on this desk, including Wolf Hall, Bring Up the Bodies and The Mirror and the Light. Elsewhere, she has remarked that the desk 'has served me well and has a great record of turning out prize winners' - Wolf Hall won both the Man Booker Prize and the National Book Critics Circle Award. In the present letter, she concludes that she is relocating to Ireland, so 'It's time for the desk to move on - battered tho' it is, it still has life in it... The proceeds of the sale will buy books for children who need them.'The desk is being sold to support the work of the prestigious Budleigh Salterton Literary Festival in local schools. The Festival takes authors free of charge into schools to engage children in reading for pleasure, and this year is also providing as many children as it can in the region with a free book.Provenance: Hilary Mantel.For further information on this lot please visit Bonhams.com
![NAPOLEON BONAPARTEDocument signed ('Bonaparte') as Générale en Chef d'Armée, enclosing three copies of orders [not present] f](https://cdn.globalauctionplatform.com/8371dcd4-571c-4dd7-83f9-aeae010c756c/f7ce46e8-5175-48d8-80c9-aeae010ccb34/468x382.jpg)
Los 22
NAPOLEON BONAPARTEDocument signed ('Bonaparte') as Générale en Chef d'Armée, enclosing three copies of orders [not present] for the setting up of boards of trade similar to the 'tribunaux' in Alexandria, Rosette and elsewhere, with subscription in another hand dated the following day passing on the order; engraved heading 'Armée Liberté Egalité' with manuscript insertions, docketed 'Commerce' top left, one page, light dust-staining and marks, edges frayed, folio (340 x 230mm.), mounted and framed, overall 440 x 320mm., unexamined out of frame, Cairo, 'le 26 fructidor an 6' [12 September 1798]Footnotes:The purpose of Napoleon's campaign in Egypt from 1798-1801 was primarily to block Britain's trade route to India and re-establish French commerce with the Levant whilst, at the same time, establishing scientific enterprise in the region and join with the Indian ruler Tipu Sultan against the British in India. Whilst Napoleon was defeated by Nelson at sea at Aboukir in August 1798, the Battle of the Pyramids in July had been a resounding victory for the French and consolidated their position on land, thus allowing Napoleon to establish his own colonial administration in the country. As part of his campaign, he brought with him a group of scientists, mathematicians, naturalists and artists – the Commission des Sciences et des Arts d'Egypte – to provide comprehensive information on the country they had conquered, culminating in his monumental encyclopaedia Description de l'Egypte and creating a renewed interest in ancient Egyptian culture.For further information on this lot please visit Bonhams.com
![POTTER (BEATRIX)The Tailor of Gloucester, FIRST EDITION, [LIMITED TO 500 COPIES], 16 colour plates, light spotting/toning to](https://cdn.globalauctionplatform.com/8371dcd4-571c-4dd7-83f9-aeae010c756c/2f0b64b9-2196-4577-819d-aeae0111dcec/468x382.jpg)
Los 220
POTTER (BEATRIX)The Tailor of Gloucester, FIRST EDITION, [LIMITED TO 500 COPIES], 16 colour plates, light spotting/toning to endpapers, publisher's pink boards, upper cover with printed lettering and illustration of three mice (light spotting) [Linder p.420; Quinby 3], 16mo, [London, privately printed by Strangeways], December 1902Footnotes:FIRST PRIVATELY PRINTED EDITION, LIMITED TO 500 COPIES. Beatrix Potter paid for the printing of this edition, which differs considerably, both in text and illustrations, to the first trade edition published by Frederick Warne the following year. Warne substantially reduced the length of the text, left out some of the original illustrations, and added others. One of those omitted depicted 'the rats carousing the cellar under the Mayor of Gloucester's shop - one them drinking out of a black bottle', Potter later writing that 'For the life of me I could not see why Mr. Warne insisted on cutting it out' (quoted in Linder, A History of the Writings of Beatrix Potter, 1971).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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