TIGHE (MARY)Manuscript notebook titled 'Sonnets', on the first leaf, containing some 140 poems, written in ink in a fine closely written hand, including poems from 'Verses Transcribed for H.T.' and later works, beginning with 'Composed on the White Sands near Arklow', 'Written at Scarborough 1799', 'Written in Autumn 1795', 'Written in the Church yard at Malvern', 'Addressed to the Ladies of Llangollen Vale', 'Written for Angela 1802', 'The Vartree', 'A Faithfull Friend is the Medicine of Life', 'To the Memory of Margaret Tighe', 'Verses written in Solitude', her long ballads 'Cluen – An Elegy' and 'Bryan Byrne of Glenmalure' and ending with translations from Horace, Catullus and Petrarch, etc., with numerous amendments and additions, index, inscribed in pencil on flyleaf in another hand 'from The Library/ Rosanagh/ Co. Wicklow' with light pencil markings throughout, 396 numbered pages, one extra half leaf tipped in, bookplate of Henry Tighe, marbled endpapers, contemporary red straight-grained morocco gilt, rubbed, small nick in spine, upper cover soiled at corner, g.e., 16mo (118 x 94mm.), [n.p.], c.1806Footnotes:'OH THOU! WHOM NE'ER MY CONSTANT HEART/ ONE MOMENT HATH FORGOT/ THO' FATE SEVERE HAS BID US PART/ YET STILL FORGET ME NOT': A rediscovered notebook from the poet who inspired Keats.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). The majority of the poems in our volume are included in 'Verses Transcribed for H.T.', an illustrated manuscript in two volumes dedicated and presented to her husband (and cousin) Henry Tighe, now held in the National Library of Ireland as part of the Hamilton of Hamworth Papers (MS 49, 155/2). These volumes were copied out by the poet sometime between 1803 and June 1808 and incorporate fair copies of her poems written at Brompton, London, where she spent the winter of 1804 to the summer of 1805 with beautifully drawn calligraphic headings and pen and ink vignettes. This manuscript is seen, until now, as the most authoritative text for most of Tighe's shorter poems: 'She carefully chose their arrangement; for example, she grouped all of her sonnets together, and she did not use strict chronology. Some of her extant poems were absent, but these omissions may have been a result of her not having them immediately at hand... Poems composed very late in her life are also not included...' (Feldman & Cooney, p.17). It may be that she used our volume as a source for the 'Verses' and, rather than the poems being not available to her, she made the editorial decision to leave them out.Much of the content tallies with that of the 'Verses' but with notable differences in the order. The first thirty or so poems follow the same order as the 'Sonnets' section of Volume I but 'Written on the acquittal of Hardy' is included before 'Addressed to the Ladies of Llangollen Vale', thus causing a change to the numbering. In the final version of 'Verses' she moves the Hardy poem to Volume II. Whilst the 'Verses' include 113 poems, our manuscript has around 140, and includes additional material from what bibliographers Feldman and Cooney call her 'Late Poems & Fugitive Verse', such as 'Eclipse', 'In Memory of Margaret Tighe taken from us June 7th 1804' and 'Verses written in Solitude'. She ends our manuscript by showing off her extensive classical education encouraged by her mother Theodosia Tighe (Methodist leader, friend of John Wesley, and co-founder of the Dublin House of Refuge) with translations from Horace, Catullus and Petrarch. The Tighes were living in times of great upheaval in Ireland and much of her work is highly political – included here her long ballad 'Bryan Byrne' which was based on real people and events.Our manuscript appears to be a working document with many amendments and neat crossings out – a half leaf with three additional verses has been bound into the poem 'Bryan Byrne' for example. In several places the poet has made corrections to our manuscript which made their way into the finished NLI manuscript (in 'Adorea' she replaces 'soothed and enraptured' with 'soothed or enraptured' for example – and in 'Pleasure', her note on the Senegal River has been much amended). In addition, some poems are lacking the titles that would be included in the final version. There would thus seem to be new material here which would bear much further research.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. Whilst she became to be seen as '...an exemplar of patiently (and picturesquely) long-suffering femininity...' (Pam Perkins, ODNB), Tighe's work was an influence on several better-known writers such as John Keats, Lord Byron, Charlotte Brontë and Felicia Hemans. After a hiatus in the twentieth century, her poems are once again enjoying recognition and it was only recently, in 2012, that her novel Selena was finally published for the first time. Tighe is now 'recognised as a great romantic-era woman poet of the sublime, who offered a complex, sophisticated, and aesthetically rich portrait of female sense and sensibility in her work' (Harriet Kramer Linkin, DIB). There is no volume matching the description of ours listed in the definitive Bibliography of Manuscript Sources in the latest Collected Poetry, so it could therefore be supposed that ours is a hitherto unknown, or at least rediscovered manuscript. The National Library of Ireland, Dublin holds the greater proportion of her extant manuscript works in the form of notebooks and fair copies of her poems, including 'Verses Transcribed for H.T.'. The family destroyed her journals after her death, but other manuscript material can be found in various commonplace books held elsewhere. Provenance: Henry Tighe (1771-1836) of Rosanna, Co. Wicklow (bookplate); thence by descent to the present owner.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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BROWNING (ELIZABETH BARRETT)The Battle of Marathon. A Poem Written in Early Youth... Printed for her Father in 1820 and Now Reprinted in Type-facsimile. With an Introduction by H. Buxton Forman, LIMITED TO 50 COPIES ON PAPER, some foxing, crushed half morocco gilt by Myers & Co., gilt lettered spine with floral tool at each end, large 8vo, For Private Distribution Only, 1891; The Seraphim, and Other Poems, FIRST EDITION, inscribed 'E.J. Smith from H. S Boyd Esqre' on front free endpaper, a little staining in some corners, contemporary green morocco, elaborately gilt with large urn device at centre of covers, spine chipped, upper cover detached, Saunders & Otley, 1838; Poems, 2 vol., FIRST EDITION, light soiling throughout, without advertisements, green half morocco gilt by Tout, gilt panelled spines with raised bands, Edward Moxon, 1844; Casa Guidi Windows. A Poem, FIRST EDITION, half-title, 36pp. publisher's catalogue at end, occasional spotting, lacking front free endpaper, publisher's cloth, spine ends frayed, Chapman & Hall, 1851; Poems, 2 vol., third edition, contemporary half calf gilt, spines rubbed, Chapman & Hall, 1853; [AND ROBERT BROWNING] Two Poems [title on wrappers], FIRST EDITION, later brown half morocco gilt, preserving publisher's wrappers, spine faded, Chapman & Hall, 1854; Poems, 3 vol., fourth edition, half-titles, publisher's blind-stamped green cloth, spines gilt, Chapman & Hall, 1856; Aurora Leigh, FIRST EDITION, , half-titles, publisher's green cloth, soiled, spine ends frayed, front hinge split, Chapman & Hall, 1857; Poems Before Congress, FIRST EDITION, slight browning at edges, publisher's blind-stamped red cloth, lettered in gilt, spine darkened and slightly frayed, Chapman & Hall, 1860; Last Poems, FIRST EDITION, lightly browned, first 3 leaves detached, publisher's blind-stamped light blue cloth, spine gilt, slightly soiled, new endpapers, Chapman & Hall, 1862 8vo (14)Footnotes:Provenance: The Seraphim, Hugh Stuart Boyd, mentor to the young Elizabeth Barrett Browning, presentation inscription to Ellen Jane Smith on his behalf. Two Poems, Maurice Buxton Foreman, bookplate. Maurice has been posthumously implicated as a party to his father and T.J. Wise's literary counterfeit schemes, which included the use of the format of (presumably) the present copy of Two Poems for their forgeries.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
![[BRONTË (CHARLOTTE)]Shirley. A Tale. By Currer Bell, 3 vol., FIRST EDITION, volume 2, p.304 with page number and error in li](https://cdn.globalauctionplatform.com/53592cc0-e59f-46df-bcaf-ae5500afca79/f8f21f2a-76a2-427e-8f8a-ae5500b08228/468x382.jpg)
[BRONTË (CHARLOTTE)]Shirley. A Tale. By Currer Bell, 3 vol., FIRST EDITION, volume 2, p.304 with page number and error in line 1 corrected, 3pp. advertisement for the third edition of Jane Eyre at end of volume 3, bound without half-titles and 16pp. catalogue at end of volume 1, later half calf, red and brown gilt lettered spine labels [Sadleir 348; Smith 5], 8vo, Smith, Elder, 1849Footnotes:'If men could see us as we really are, they would be a little amazed...They do not read them in a true light; they misapprehend them, both for good and evil. Their good woman is a queer thing, half doll, half angel; their bad woman almost always a fiend' (Charlotte Brontë in Shirley). Her second published novel, and her only historical one, was set in Yorkshire during the industrial depression of 1811-12.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
![CAMERON (JULIA MARGARET)Mary Hillier, albumen print, left corners irregularly trimmed [Cox & Ford 270], 325 x 250mm., 18](https://cdn.globalauctionplatform.com/53592cc0-e59f-46df-bcaf-ae5500afca79/98d6219e-f18d-4387-9d41-ae5500b0409a/468x382.jpg)
CAMERON (JULIA MARGARET)Mary Hillier, albumen print, left corners irregularly trimmed [Cox & Ford 270], 325 x 250mm., 1873Footnotes:'Beginning as Julia's parlour maid, Mary [Hillier] went on to become the photographer's leading model and the focus of the artist's creative passion' (blurb for Kirsty Stonell Walker, Light and Love: The Extraordinary Developments of Julia Margaret Cameron and Mary Hillier, 2020).Provenance: Jackson-Vaughan Family, by descent.For further information on this lot please visit Bonhams.com
![TRANSGENDER - BINDING[LILI ELBE] Man into Woman. An Authentic Record of a Change of Sex. The True Story of the Miraculous Tra](https://cdn.globalauctionplatform.com/53592cc0-e59f-46df-bcaf-ae5500afca79/3a943b29-e6c9-4ffa-a35f-ae5500b04539/468x382.jpg)
TRANSGENDER - BINDING[LILI ELBE] Man into Woman. An Authentic Record of a Change of Sex. The True Story of the Miraculous Transformation of the Danish Painter Einar Wegener (Andreas Sparre). Edited by Niels Hoyer [Ernest Harthen], first English edition, translated from the German by H.J. Stenning, introduction by H.J. Stenning, 25 photographic plates (on 22 sheets), light spotting, modern full morocco gilt with design of the transgender pride flag in blue, pink and white morocco on sides, gilt roll-tool decorative border at fore-edges, spine tooled in gilt, 8vo, Jarrolds, 1933Footnotes:FINELY BOUND TO THE DESIGN OF THE TRANSGENDER PRIDE FLAG in blue, pink and white morocco, the classic account of Danish artist Einar Wegener's pioneering journey from 'man into woman', undertaken in the early 1930s.Lili Elbe's story was filmed as The Danish Girl (2015), for which Eddie Redmayne won an Academy Award playing the title role.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
GREENAWAY (KATE)The Quiver of Love, 8 chromolithographed plates mounted (4 by Greenaway, 4 by Walter Crane), gift inscription, publisher's bevelled blue cloth gilt, FINE COPY [Schuster & Engen 167.1j but with dark blue endpapers], Marcus Ward, 1876; Under the Window, SIGNED BY GREENAWAY on the half-title, ownership stamp of her brother Alfred on front free endpaper, first and last few leaves lightly foxed, publisher's pictorial boards, corners rubbed [cf. 201 but varying from all issues], Routledge, [1878]; The Fairy at the Fountain... From Coloured Designs by Miss Kate Greenaway, 6 chromolithographed plates, publisher's pictorial wrappers, very worn and creased [not in Schuster, cf. 30.1c], Frederick Warne, [1871]; Mother Goose, second issue, light toning, publisher's cloth, spotted, DUST-JACKET, spine panel chipped at head [140.1b], Routledge, [1881]; Language of Flowers, AUTHOR'S PRESENTATION COPY inscribed on half-title to 'H.S. Marks Esqr. R.A. from Kate Greenaway 1884', publisher's pictorial boards, contents shaken, rubbed [107.1a], Routledge, [1884]--HARTE (BRET) The Queen of the Pirate Isle, light spotting and offsetting, publisher's cloth, lightly rubbed, LOOSELY INSERTED AUTOGRAPH LETTER SIGNED (see footnote) [165.1e], Chatto & Windus, [1886], FIRST EDITIONS, 4to and 8vo; and approximately 44 others, almost all illustrated by Greenaway (quantity)Footnotes:In the letter, dated 2 April 1889, Greenaway writes to booksellers Palmer & Howe of Manchester, apparently enclosing the original drawings for Queen of the Pirate Isle; according to Spielmann and Layard, she sold her Pied Piper and 1893 Almanack illustrations to them (Spielmann, pp.172, 182). 'I think the getting up of the book very nice,' she writes, 'but of course the drawings would look far better and cleaner if they were surrounded by raised mounts'.Henry Stacy Marks, to whom she inscribes this copy of Language of Flowers, was 'her kind mentor and chief adviser' (Spielmann, p.104).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
DUVAL (EMILY)Illuminated printed address signed by Emmeline Pankhurst ('E. Pankhurst') and bearing the stamped signature of Emmeline Pethick Lawrence ('E. Pethick Lawrence'), presented to Emily Duval 'On Behalf of all Women who will win freedom by the bondage which you have endured for their sake, and dignity by the humiliation which you have gladly suffered for the uplifting of our sex, We, the Members of the Women's Social and Political Union, herewith express our deep sense of admiration for our courage in enduring a long period of privation and solitary confinement in prison for the 'Votes for Women' Cause...', beneath large chromolithographed Angel of Freedom vignette, within a purple, green and gilt foliate border incorporating the portcullis and prisoner's arrow motif, calligraphic name of recipient, one leaf, light dust-staining, framed and glazed, address 467 x 310mm., with frame 680 x 505mm., unexamined out of frame, [September 1908 onwards]Footnotes:These illuminated addresses were designed by Sylvia Pankhurst to incorporate the purple, green and white colours that the WPSU had adopted in June 1908 and were presented to ex-prisoners who had suffered for the cause. The 'Angel of Freedom' device was a strong 'brand' logo also used on other WPSU artefacts such as the tea-set and medallion included in this sale. From April 1909, the meeting of the International Women's Suffrage Alliance, the addresses were accompanied by a Holloway Brooch (not present).Emily Duval (1861-1924), was a militant member of first the WSPU and then the Women's Freedom League for whom she was a member of its national executive and chairman of the Battersea branch (Crawford, E. The Women's Suffrage Movement: A Reference Guide 1866-1928, 1999). In November 1907 she took part in the WFL campaign of protesting in police courts when women were in the dock and spent one month in prison in January 1908 after taking part in a deputation to Asquith's home. She was arrested eight times between 1908 and 1911, spending six weeks in Holloway from February 1909 and earning a mention in Constance Lytton's Prison and Prisoners. Finding the WFL insufficiently militant, she rejoined the WSPU in November 1911, whereupon she took part in window smashing and other activities, resulting in several further episodes in prison. In March 1912 she took part in a hunger strike, was forcibly fed and then released to a nursing home. She continued to be an active supporter of women's suffrage throughout the First War and of her six children, four of her daughters went to prison for the cause, although three did not live long enough to vote themselves.Provenance: Sotheby's, 15 December 1987, lot 244.For further information on this lot please visit Bonhams.com
DUVAL (ELSIE)Illuminated printed address bearing stamped signature of Emmeline Pankhurst ('E. Pankhurst') presented to Elsie Duval 'On Behalf of all Women who will win freedom by the bondage which you have endured for their sake, and dignity by the humiliation which you have gladly suffered for the uplifting of our sex, We, the Members of the Women's Social and Political Union, herewith express our deep sense of admiration for our courage in enduring a long period of privation and solitary confinement in prison for the 'Votes for Women' Cause...', beneath large chromolithographed Angel of Freedom vignette, within a purple, green and gilt foliate border incorporating the portcullis and prisoner's arrow motif, calligraphic name of recipient, one leaf, printed by 'Weiners, London, W.', light dust-staining, framed and glazed, address 486 x 318mm., with frame 680 x 505mm., unexamined out of frame, [September 1908 onwards]; with a similar printed certificate addressed to Elsie Duval, bearing the stamped signature of Emmeline Pankhurst ('E. Pankhurst'), within a black and white foliate border beneath the WSPU roundel in purple, white and green, one leaf, dust-staining, marks and small tears, framed and glazed, 380 x 275mm., with frame 570 x 455mm., unexamined out of frame (2)Footnotes:These illuminated addresses were designed by Sylvia Pankhurst to incorporate the purple, green and white colours that the WPSU had adopted in June 1908 and were presented to ex-prisoners who had suffered for the cause. The 'Angel of Freedom' device was a strong 'brand' logo also used on other WPSU artefacts such as the tea-service and medallion included in this sale. From April 1909, the meeting of the International Women's Suffrage Alliance, the addresses were accompanied by a Holloway Brooch (not present).Elsie Duval (1892-1919), a member of the WSPU from 1907, was born into a family of passionate supporters of the suffrage movement and was the first woman to be released from Holloway under the so-called 'Cat and Mouse Act' in 1913. Her mother, Emily Duval, was arrested on six occasions between 1908 and 1912 and her brother Victor founded the Men's Political Union for Women's Enfranchisement. Elsie too was arrested many times and served several sentences in Holloway. In 1912 she was arrested after smashing the window of Clapham post office and sentenced to a month's imprisonment during which she was force-fed nine times and subsequently awarded the Hunger Strike Medal by the WSPU. After being accused of arson, she fled to Europe with her husband, only returning at the beginning of the First War when an amnesty to suffragettes was in place. Her weakened health meant that she succumbed to influenza in 1919, as did her sister and fellow-suffragette Barbara.Provenance: Sotheby's, 15 December 1987, lot 244 (part).For further information on this lot please visit Bonhams.com
Chinese porcelain vase, belonging to the Rose Family. Late 19th century.Measurements: 62 cm x 25 cm (diameter).Large Chinese porcelain vase decorated with enamelled cartouches depicting genre scenes in which courtly characters appear on terraces and pagodas set in leafy landscapes. These scenes are outlined and completed with floral and vegetal decoration that covers the rest of the body of the vase, contrasting with the base of the lower part in shades of pink, red and aquamarine-blue. The pictorial decoration is completed by a series of zoomorphic reliefs in the form of tigers and dragons on the neck of the vase. The Rose Family is characterised by the predominance of light, luminous tones, especially pink and green. During the second half of the 19th century, thanks to the discovery of white glaze, Chinese potters broadened their palette to include new shades, which allowed them to enrich their wares with greater chromatic splendour, achieving a higher quality of plastic representation.The Rose Family style originated at the end of the Kagnxi period, an emperor of the Qing dynasty who reigned from 1662 to 1722. The new ornamental style is based on the introduction of new enamels, the most famous of which is pink, after which the style is named. Other new colours were also added, such as opaque yellow, white and the now independent black (until then, in order to fix the black glaze, it had to be covered with a glaze of another colour, usually translucent green). Technically, the most important is opaque white, as it could be mixed with other glazes to achieve a wide range of pastel shades, as well as allowing a smooth tonal gradation that made it possible to successfully imitate Western painting. What defines the Rose Family, therefore, is not the predominance of this colour, but this new polychrome. The new style led to the abandonment of the previously predominant Green Family, characterised by the abundance of this colour and the use of more watery glazes.
GOLDEN COCKEREL PRESS - JOHN BUCKLAND WRIGHTBUCKLAND WRIGHT (JOHN, illustrator) Hero & Leander. Translated from the Greek of Musaeus by F.L. Lucas, NUMBER 43 OF 100 SPECIALLY BOUND COPIES WITH AN ADDITIONAL ENGRAVING, from an overall edition of 500 copies, signed by the translator and artist, with an additional engraving, from an edition limited to 500, 12 engravings (mostly full-page), small light stain on frontispiece and pictorial title, original vellum gilt, t.e.g., slipcase [Reid A54a], 8vo, Waltham St Lawrence, 1949This 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
HAYEK (FRIEDRICH AUGUST VON)Profits, Interest and Investment: and Other Essays on the Theory on Industrial Fluctuations, FIRST EDITION, half-title, occasional light spotting, some passages underlined in pencil, with notes in the margins of 3 pages in Japanese, publisher's red cloth, dust-jacket (soiled, slightly frayed at spine extremities [Cody & Ostrem B-4], 8vo, Routledge & Kegan Paul, 1939Footnotes:Hayek's fourth major book, in the rare dust-jacket.Provenance: Japanese chop signature on title-page. Several passages in the text are underlined, with notes in Japanese, including on p.23 besides a paragraph concerning railroads, shipbuilding and engineering, and another on p.149 making note of James Wilson, first editor of the Economist.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
HOLOCAUSTThe Mass Extermination of Jews in German Occupied Poland. Note Addressed to the Governments of the United Nations on December 10th, 1942, and Other Documents, 16pp., the title printed in red, integral wrappers, light dust-soiling, stapled as issued with very minor rust-marks, 8vo, Hutchinson, [1943]Footnotes:AN EARLY OFFICIAL ANNOUNCEMENT OF THE HOLOCAUST. The pamphlet was compiled by the Polish Ministry of Foreign Affairs from eye-witness accounts, and highlighted 'the particular violence against the Jewish population, who have been subjected to new methods calculated to bring about the complete extermination of the Jews'.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
![KELMSCOTT PRESSMORRIS (WILLIAM) The Defense of Guenevere and Other Poems, [LIMITED TO 300 COPIES], printed in red and black,](https://cdn.globalauctionplatform.com/93a68dd1-6529-42ae-bb98-ae5400afba3e/48237800-6a82-4d75-b5d8-ae5400b2318c/468x382.jpg)
KELMSCOTT PRESSMORRIS (WILLIAM) The Defense of Guenevere and Other Poems, [LIMITED TO 300 COPIES], printed in red and black, woodcut borders and large decorative initials, woodcut Kelmscott device at end, toning/light off-setting to leaf of contents, original limp vellum, ties, titled 'Guenevere' in ink on spine [Peterson A5}, small 4to, Kelmscott Press, 1892This 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
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, fourth impression paperback, INSCRIBED BY THE AUTHOR 'FOR JENNY, WHO DOES BELIEVE IN MAGIC...' on the dedication leaf, light toning, short marginal tear to pp.141/2, publisher's pictorial wrappers (some small creases, a few abrasions touching image, short tears at extremities of spine), 8vo, Bloomsbury, 1997Footnotes:'FOR JENNY, WHO DOES BELIEVE IN MAGIC (I DO TOO, REALLY) (BUT DON'T TELL ANYONE). J.K. ROWLING'.A copy of the author's first book inscribed for the vendor's daughter Jenny, then seven years old, at the Edinburgh Literary Festival in August 1997. Jenny's mother wrote in her journal for that month 'We all went to hear Joanne Rowling reading from her first children's book 'Harry Potter and the Philosopher's Stone' and were so impressed we bought a copy and Ms. Rowling signed it for Jenny. Jenny read 'Harry Potter' first, then me and now she is reading it again so Peter has'nt had a chance yet! It really is a very good read'. Rowling appeared in the Tepee Tent, the smallest venue at the festival, reading extracts of the book to an audience of less than fifty people. Jenny's mother recalls that 'Jenny was aged 7 and very into wizards, magic, fairies and the like so when she took the book to be signed, she had a whispered question for Joanne Rowling - hence the inscription in the book'.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
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, fifteenth impression of the paperback edition, INSCRIBED BY THE AUTHOR 'To Emily who asked an excellent question with best wishes J.K. Rowling' on the dedication leaf, small area of orange pen scribbling across a few words of pp.220-224 and inside lower cover, and a small hole affecting a few letters to pp.221-222, light damp wave to fore-edge of some pages, publisher's pictorial wrappers, a '1997 Gold Award Winner' sticker on the upper cover, worn at extremities (small tear to lower spine, and upper margin of lower cover), sides with blind indentations from scribbling, 8vo, Bloomsbury, [1997]Footnotes:INSCRIBED FOR AN EIGHT YEAR OLD GIRL 'WHO ASKED AN EXCELLENT QUESTION'.Provenance: Inscribed by Rowling for Emily, the current vendor, at the Cheltenham Literature Festival in 1998. According to the Festival website Rowling 'appeared... with her book about a certain boy wizard in a modest 160 seat venue'. Emily, at the time only eight years old, can no longer remember the 'excellent question' that she asked. See also following lot.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
ROWLING (J.K.)Harry Potter and the Chamber of Secrets, third impression INSCRIBED BY THE AUTHOR 'To Emily, who is wearing one of the wizarding world's favourite colours, J.K. Rowling' on the dedication leaf, with number sequence from 10 down to 3 on verso of title, light paper toning (as usual), publisher's pictorial boards, dust-jacket (slightly frayed at edges), 8vo, Bloomsbury, [1998]Footnotes:INSCRIBED TO A YOUNG FAN 'WHO IS WEARING ONE OF THE WIZARDING WORLD'S FAVOURITE COLOURS'.Provenance: Inscribed by Rowling for Emily, the current vendor, at the Cheltenham Literature Festival in 1998. According to the Festival website Rowling 'appeared... with her book about a certain boy wizard in a modest 160 seat venue'. Emily, at the time only eight years old, remembers that she was dressed in purple. See previous lot.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
SENDAK (MAURICE)An extensive collection, assembled over the past 30 years, of the works of Maurice Sendak, comprising some 340 volumes covering virtually all of Sendak's works in first edition, later editions, and foreign translations, together with several hundred printed ephemera such as proofs, posters, pamphlets, brochures, programmes, cards, leaflets, greetings cards, point of sale displays and exhibitions catalogues, and objects such as Wild Thing dolls, t-shirts, tote bags, badges, etc., a sample of the highlights including:(i)7 books inscribed with original drawings, comprising (all in publisher's bindings):- Where the Wild Things Are, first edition, inscribed on half-title 'For Vera, Indeed – a first! Maurice Sendak May '92' with drawing of the head of Moishe the Wild Thing, first issue dust-jacket, price-clipped, lightly toned, 8mm. tear to front panel, slightly longer tear at foot of spine [Hanrahan A58], oblong 4to, [New York], Harper & Row, 1963; - ibid., later edition, inscribed on half-title 'For Dan for Christmas 1983, from Robert and Frank and Maurice, Dec. 25, '83' with large drawing of Moishe in Christmas hat saying 'Boo!', dust-jacket (price-clipped, tears and repairs), oblong 4to, Bodley Head, 1983; - ibid., 25th anniversary edition, number 150 of 250 copies signed by Sendak on half-title and with drawing of Moishe signed and dated 'Oct. '88' loosely inserted, oblong 4to, [New York], Harper & Row, 1988; - AYME (MARCEL) The Wonderful Farm, early edition, illustrations by Sendak, drawing of a seated pig signed 'Maurice Sendak' on front free endpaper, dust-jacket (price-clipped, spine toned) [Hanrahan A2], 8vo, New York, Harper, 1951; - The Magic Pictures: More about the Wonderful Farm, early edition, drawing of a leaping pig (with 'Oink!') signed 'Maurice Sendak' on front free endpaper, first issue dust-jacket, spine toned, tear at foot of rear panel [Hanrahan A10], 8vo, New York, Harper, 1951;- Higglety Pigglety Pop!, first edition, inscribed on front free endpaper 'Aug. '68 For Bevan, All best wishes! Maurice Sendak' with drawing of the cat-milkman, dust-jacket (price-clipped, spine toned) [Hanrahan A68], square 12mo, [New York], Harper & Row, 1967; - OPIE (IONA AND PETER) I Saw Esau, number 285 of 300 copies signed by Iona Opie and Sendak, with drawing of baby in romper suit dated 'May '92' below, slipcase [Hanrahan A136], 8vo, Walker Books, 1992(ii)Over 90 books signed and frequently inscribed by Sendak, including: - EIDINOFF (M.L.) and H. RUCHLIS. Atomics for the Millions, first edition of the first book illustrated by Sendak, signed on front free endpaper and dated 'Oct. '84', library mark on rear pastedown, endpapers toned, rubbed [Hanrahan A1], 8vo, New York, McGraw-Hill, 1947; - ibid., first UK edition, signed on half-title and inscribed 'For Vera', endpapers spotted, lightly rubbed, shelfmark on spine, 12mo, George G. Harrap, 1950;- Where the Wild Things Are, first edition, inscribed on half-title 'to Mary B. Stancisto, Maurice Sendak, Jan. '71', early issue dust-jacket with Caldecott Medal label and blurb and price $3.95, spine panel very lightly toned, oblong 4to, [New York], Harper & Row, 1963; - ibid., first UK edition, signed on half-title and inscribed 'to Vera', dust-jacket lightly toned, oblong 4to, Bodley Head, 1967(iii)Miscellanea, including: - American Booksellers Association 1991 poster, colour lithograph, number 172 of 275 copies, numbered lower left and signed and dated '91 lower right, 780 x 620mm.; - Pictures by Maurice Sendak, number 471 of 500 copies with signed reproduction of drawing of a Sealyham terrier, portfolio containing 20 prints [Hanrahan A78], the box 650 x 430mm., New York, Harper & Row, 1971; - ibid., UK version, number 4 of 1,000 copies, no signature called for, Bodley Head, 1972; - another copy, number 421; ibid., German version, number 799 of 1,000 copies, no signature called for, Zurich, Diogenes Verlag, 1972; - Fly By Night, galley proofs, stamped 'First Proof 61229 Jun 25 1976', green paper wrappers [cf. Hanrahan A95], 4to, [New York, Farrar, Straus & Giroux, 1976]; - ibid., proof sheet with 16 illustrations, folded, 640 x 950mm.; - fax sent by Ursula Nordstrom of Harper & Row, to 'Dear Colleague', enclosing statement of Sendak on the censorship of the naked baby of In the Night Kitchen by librarians, 3pp., stapled, 4to, 24 April 1972; - Higglety Pigglety Pop!, proof sheet with 14 full-page illustrations and 8 vignettes, printed on thick paper, numbered '20' in felt-tip and 'light' in pencil', folded [cf. Hanrahan A68], 910 x 600mm., [?New York, Harper & Row, 1967]; - I Saw Esau, complete set of unbound, unfolded colour proofs [cf. Hanrahan A136], 4to, Walker Books, 1992; - several Wild Thing dolls, unopened in original packagingFootnotes:'In a lifetime of making and illustrating books, Maurice Sendak has contributed to American literature an astonishing body of creative work... from the early, brash illustrations for Atomics for the Millions to... the richness of imagery and imagination in picture books such as Where the Wild Things Are and In the Night Kitchen' (Stephen K. Urice, Sendak at the Rosenbach, 1995). The present collection is surely one of the most extensive and thorough in private hands; a full list is available on request.Provenance: Property from a London private 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
TOLKIEN (J.R.R.)The Hobbit or There and Back Again, FIRST EDITION, SECOND IMPRESSION, 13 plates and illustrations (4 colour), advertisement leaf, map endpapers by the author printed in red and black, publisher's pictorial light green cloth, upper edge green, age soiling [cf. Hammond A3(a) and p.13], George Allen & Unwin, [1937]Footnotes:The second impression dated 1937, but actually published in January 1938, saw the first appearance of four additional colour illustrations by Tolkien. Some 2300 copies were printed, although 423 unbound copies were destroyed at the binders during the Blitz in 1940.Provenance: G.W. Sutcliffe, pencil ownership inscription, and further pencil inscription from George to Martin, Christmas 1940 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
DECLARATION OF INDEPENDENCEIn Congress, July 4, 1776. The Unanimous Declaration of the Thirteen United States of America. When in the Course of Human Events..., engraved plate (735 x 635mm.), folded, light offsetting, 2 spots around central left edge, diagonal crease from upper left corner, [Washington, Peter Force, reprinted 1833 from the original copperplate], BOUND INTO: FORCE (PETER) American Archives: Fifth Series, vol. 1, half-title, light browning, contemporary half calf, joints cracked at ends, small loss to head and foot of spine, rubbed, folio (347 x 220mm.), Washington, [Peter Force], 1848Footnotes:FINE AND ATTRACTIVE COPY of Peter Force's 1833 issue of the Declaration of Independence. 'In 1820, John Quincy Adams, then secretary of state and a future President, commissioned a young printer, William J. Stone, to make a full-size facsimile copperplate engraving of the Declaration of Independence... Stone took three years to complete engraving the copperplate, which today is on display at the National Archives Building in Washington, D.C... The prints of the Declaration made from this copperplate are the ones most familiar to Americans, and they provide a clear image of the document that established our nation' (Catherine Nicholson, 'Finding the Stones', Prologue, Summer 2012, vol. 44, no. 2).By the 1830s, Peter Force (1790-1868), historian, publisher and mayor of Washington D.C., was planning an ambitious 20-volume anthology entitled American Archives. He persuaded the State Department to grant him access to Stone's copperplate, which they held at the time. For this reissue a decade after Stone's first printing, his imprint was neatly burnished out at the top of the plate, and replaced with a faint 'W.J. STONE SC[ULPSIT] WASHN.' in the lower left portion. Force printed around 4,000 copies of the Declaration on a translucent tracing paper sometimes mistakenly called 'rice paper', but in fact machine-made Western paper. Each engraving was inserted along its right edge into the binding of the Fifth Series, volume 1, of American Archives and neatly folded in.Force's anthology was a publishing failure. 'In 1853 Secretary of State William Learned Marcy abruptly cancelled the State Department contract to publish the remaining series of American Archives, with only the Fourth and Fifth Series printed' (Nicholson).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
![POLAR - JAPANESE ANTARCTIC EXPEDITION 1910-1912[SHIRASE (NOBU)] Nankyoku-ki, FIRST EDITION, FIRST PRINTING, text in Japanese](https://cdn.globalauctionplatform.com/93a68dd1-6529-42ae-bb98-ae5400afba3e/adc61e23-9110-49a8-b245-ae5400b1b06a/468x382.jpg)
POLAR - JAPANESE ANTARCTIC EXPEDITION 1910-1912[SHIRASE (NOBU)] Nankyoku-ki, FIRST EDITION, FIRST PRINTING, text in Japanese, 4 coloured plates, numerous full-page photographic illustrations (one double-page), one folding colour-printed map, illustrations in the text, publisher's red-printed colophon mounted on card (as issued), toning/spotting to text, light dampstain in upper blank margin of approximately 30 leaves, a few small paper repairs, publisher's dark blue cloth, blind-stamped pictorial decoration and silver gilt lettering on upper cover, silver gilt lettering on spine (rubbed), one endpaper replaced to match, joints neatly repaired [Rosove 309.A1a ('rare'); Ross 1.5.1 ('rare')], 8vo, Tokyo, Seikô Zasshisha, 15 December 1913Footnotes:RARE first edition, first printing of the 'official account' of the Japanese Antarctic Expedition 1910-1912. Based upon the journals and logs of team leader Nobu Shirase and other exhibition members it also includes information on the scientific findings. It has never been printed in English. All the books relating to the Japanese expedition were largely overlooked by the Western world, Taurus noting that 'Spence seems never to have heard of this important Japanese expedition... the first Japanese scientific voyage to leave Asian waters'.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
![POLAR - JAPANESE ANTARCTIC EXPEDITION 1910-1912[SHIRASE (NOBU] Nankyoku-Tanken, FIRST EDITION, text in Japanese, 4 leaves of](https://cdn.globalauctionplatform.com/93a68dd1-6529-42ae-bb98-ae5400afba3e/73faa4cf-7b0a-40cc-a3d4-ae5400b1b39a/468x382.jpg)
POLAR - JAPANESE ANTARCTIC EXPEDITION 1910-1912[SHIRASE (NOBU] Nankyoku-Tanken, FIRST EDITION, text in Japanese, 4 leaves of photographic illustrations (recto and verso), numerous photographic illustrations in the text, one folding colour-printed map, some toning and light spotting, map off-set onto facing page, publisher's pictorial boards (illustrating penguins on the ice), joints frayed, soiling [Rosove 381.A1; Ross 1.4.1], 8vo, Tokyo, 21 January 1913Footnotes:VERY RARE. This is the first appearance of Expedition leader Shirase's account, pre-dating the official account which did not appear until later in the same year.Shirase was 'the first non-European team to explore Antarctica, his 'dash patrol' journey past 80 deg south was one of only four groups to have done so at that time. The expedition was carried out on a tiny budget (for such endeavours), none of those involved had any previous polar experience... [but] there were no fatalities' (Cool Antarctica, website). In November 1910 Shirase left Tokyo on the small wooden schooner Kainan Maru with a crew of 26 men and 27 Siberian sled dogs, the beginning of his heroic but ultimately failed expedition to raise the Japanese flag at the Pole. His ship was the smallest to sail to Antarctica at the time, half the size of Amundsen's Fram and a third the size of Scott's Terra Nova. After attempts to reach the Pole over two seasons 'Shirase was treated like a hero on his return to Japan. He was soon forgotten however' (Cool Antarctica).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
![POLAR - JAPANESE ANTARCTIC EXPEDITION 1910-1912YASUNASUKE (YAMABE) Ainu Monogatari [The Ainu Story], text in Japanese, 4 pho](https://cdn.globalauctionplatform.com/93a68dd1-6529-42ae-bb98-ae5400afba3e/22b9befc-79fe-4c3e-a94b-ae5400b1c428/468x382.jpg)
POLAR - JAPANESE ANTARCTIC EXPEDITION 1910-1912YASUNASUKE (YAMABE) Ainu Monogatari [The Ainu Story], text in Japanese, 4 photographic plates, 9 pages of advertisements, tissue guard to first plate, some toning and light spotting, publisher's dark brown boards decorated/lettered in red and white on upper cover, upper cover detached, loss to extremities of spine [Ross 1.6.1, 'Very Rare', calling for a duplicate of one of the plates not present in this copy], 8vo, Tokyo, Hakubunkan, 1913Footnotes:'This narrative was written shortly after completion of the Japanese Antarctic Expedition. Yamabe Yasunasuke joined the JAE at age 44 and served as dog driver during both phases of the expedition. Yasunasuke was Ainu and a cultural anthropologist with a focus on Eskimo and Japanese ethnic cultures. This book deals with his anthropological interests but includes a 38-page section covering his experiences with the JAE.' (Ross).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
BEWICK (THOMAS)History of British Birds, 2 vol., 445 numerous woodcut illustrations, some spotting (heavier to endpapers, small light dampstain in fore-margin of title in first volume), later full green morocco gilt, g.e., 8vo, Newcastle, Sol. Hodgson, for Beilby & Bewick [-Edward Walker, for T. Bewick], 1797-1804This 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
THORBURN (ARCHIBALD)British Birds, 4 vol. (without Supplement), NUMBER 2 OF 105 LARGE PAPER COPIES, 80 tipped-in colour plates, some light spotting, publisher's red cloth gilt, t.e.g., some uneven fading and rubbing [Anker 508; Nissen IVB 938], folio, Longmans, Green & Co., 1915-1918Footnotes:Provenance: James David Lumsden, 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
VALLET (PIERRE)Le jardin du roy tres chrestien Loys XIII, etched architectural title, portrait of Vallet, 93 etched plates (numbered 1-30, 32-57, 58-89, 91-95 and 99), all hand-coloured in a good later hand, without the portrait of Robin, light dampstain in the fore-margin of text leaves with some light pencil annotations in the margins, small light stain just touching image of plate 39, modern vellum [Nissen BBI 2039, calling for only 90 plates; cf. Hunt 187; Pritzel 9672], folio (343 x 216mm.), Paris, Pierre Vallet, 1623Footnotes:'THE FIRST IMPORTANT FLORILEGIUM... A WORK OF GREAT BEAUTY' (Blunt). First published in 1608, this second edition was expanded with a further 20 plates and re-dedicated to King Louis XIII. The flowering plants that Vallet depicts were collected and cultivated by Jean Robin, director of the royal gardens at the Louvre Palace. Robin had introduced a number of exotic flowers from Spain and the archipelagos off the coast of Guinea, and a brief synopsis of these is given in the text.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
BOSWELL (JAMES)Autograph letter signed ('James Boswell') to Alexander Burnett ('Dear Sir'), British Chargé d'Affaires in Berlin, thanking him in familiar terms for escorting him in Germany ('...Would you not laugh if I should formally return you thanks for the many civilities which you was kind enough to show me at Berlin?...'), going on to thank him for introducing him to Mr [Philip] Stanhope ('...extremely obliging... presented me at court... dined with him twice. His table is good and his conversation agreeable. Dresden is a charming Place. I wish the King would make me his Minister there...'), bemoaning the destruction of the city by the Prussians ('...I think the Gothic Hero might have spared such an Addition to his Glory...'), and complaining of having to change his plans ('...were a Poem to be written in the manner of the Aneade describing my Journey from Berlin to Geneva this very circumstance would take up at least thirty lines... there is nothing I hate so much as to retourner sur mes pas. We have no phrase for this so good as the French one...'), ending by asking him what he made of the Spanish gun which has been offered to him at a suspiciously cheap price ('...the fellow asked only 20 Thalers for it... don't purchase till you write to me...'), 3 pages on a bifolium, integral address panel with remains of red wax seal, with docket, light dust-staining, creased at folds, 4to (264 x 190mm.), Leipzig, 14 October 1764Footnotes:'I WISH THE KING WOULD MAKE ME HIS MINISTER THERE': BOSWELL TAKES IN THE GERMAN COURTS ON HIS GRAND TOUR. Beginning in April 1763 in the Netherlands, Boswell's continental tour took in Germany, Switzerland, Italy and Corsica, every stage meticulously recorded in his daily journal (see ed. Marlies K. Danziger, James Boswell: The Journal of his German & Swiss Travels, 1764, 2008). He looked upon his continental tour with great satisfaction and, although much of his diary from this period is lost, the portion describing his tour through Germany remains intact and in later years he considered it a suitable candidate for publication – 'I shall perhaps abridge it in a more elegant style' (ed. Geoffrey Scott, Private Papers of James Boswell from Malahide Castle, 1928). However, it may well have been that the huge success of the published Tour of Corsica deterred him from that course, as 'any further publication of his travels must necessarily have the character of an anti-climax' (Scott, p.3). Our letter, therefore, was written in the midst of an ambitious itinerary which took in a plethora of the lesser German courts. Having just spent four days in Leipzig from 3rd to 7th October and Dresden from the 9th to the 12th Boswell was now back in Leipzig, furious at having to 'retourner sur mes pas' after failing to find a seat in the large passenger coach, and thus having to resort to a slower, private coach, a delay he clearly found frustrating and necessitated him giving up a visit to Weimar. His companion and facilitator in Germany, and the recipient of our letter, was fellow Scot Alexander Burnett (1735-1802) of Kemnay, Aberdeenshire, who had studied at the university of Leiden and came to Berlin as secretary to Sir Andrew Mitchell, his Majesty's Minister to the Court, accompanying him and Frederick II on several fierce campaigns of the Seven Years' War and acting as Chargé d'Affaires from August 1764 to June 1766 whilst Mitchell took a cure for the benefit of his health. Boswell describes Burnett as 'a very good sollid clever young fellow', 'much better than myself' and 'excellent company. His storys flew thick... merry we were...' (Journal, 15 July 1764, 28 August 1764, 6 September 1764). Indeed, some of Burnett's amusing anecdotes were published in Boswelliana and Boswell notes that he 'has found me several words for my Scots Dictionary' (16 September 1764). They clashed only on the issue of the Union - 'After much warm disputation, I said 'Sir, the love of our country is a sentiment. If you have it not, I cannot give it you by reasoning'' (6 September 1764), although they were reconciled over a breakfast of 'Scots oatmeal Pottage and English Porter. This is one of the best methods that can be taken to render the Union truly firm' (17 September 1764). Copies of Burnett's outgoing correspondence, held in six letter books in the archive at Kemnay, reveal that he had been asked by Boswell's father to urge him to return home at the beginning of his tour, even concocting a plan by which Mitchell would lure him back via Brussels. In one of his daily letters to Andrew Mitchell, Burnett wrote: '...his father had given him leave to make a Jaunt into France... he was uncertain whether he might not go and Pay a Visit to the several small Courts in Germany, then take a Tour through Switzerland, France and so Home: I asked him if his Father did not rather seem desirous of his returning to Scotland as soon as possible – He answered he did above all Things... upon which I said it was my Advice that he ought instantly and cheerfully to comply with His Father's Desire...' (28 August 1764). Needless to say Boswell, taking full advantage of the considerable pleasures available to him, did not take Burnett's advice: '...the continued series of Amusement and Dissipation he enjoyed during the thirteen Days he stayed at Brunswick... has given him such a Taste for travelling and Dissipation that he talks of nothing but of making the Tour of all Europe and then settling to Business... I can easily perceive it will be very difficult to get him to return home unless You was to allure him to come to Spa...and so carry him over to England...'.According to our letter, Boswell's well-documented admiration of Frederick II 'The Great', of Prussia diminished considerably after witnessing at first hand the ruins of Dresden, the town damaged after Frederick's unsuccessful siege of 1760. Burnett took him to the palace of his former hero at Sans Souci but, despite several requests for an introduction to the King, a meeting was not forthcoming. Burnett's letter book reveals that his reluctance to facilitate such an introduction was due to Boswell's insistence that he should be presented to the King as a Scotsman and not an Englishman: '...I find he makes such absurd Distinctions between Englishmen and Scotchmen... that I am certain something very ridiculous would happen on that Occasion... Ld M. [the Lord Marischal] had said to him that K.P. had a greater Esteem and Value for his countrymen than for the English. You may easily judge after this if it would be prudent to have him presented...' (8 September 1764). The present letter is published in Susan Burnett, Without Fanfare: The Story of my Family, 1994, p.120, and has been held in the archive at Kemnay House, Aberdeenshire, until now. It is not included in Chauncey Brewster Tinker's Letters of James Boswell, 1924. The original of Alexander Burnett's reply, dated 20 October 1764, is held at Yale (MS. C 704). Provenance: Alexander Burnett, 4th of Kemnay (1735-1802); and thence by descent.For further information on this lot please visit Bonhams.com
HARRIS (JOHN)Lexicon Technicum: or, an Universal English Dictionary of Arts and Sciences: Explaining Not Only the Terms of Art but the Arts Themselves, FIRST EDITION, engraved frontispiece portrait, title printed in red and black, 7 engraved plates (2 folding, one with old tear), numerous woodcut illustrations, list of subscribers (including Isaac Newton), upper fore-corner of title torn away with some loss to rule border, light dampstaining in lower fore-corner of approximately 20 leaves at end, modern quarter morocco [PMM 171a], small folio (320 x 202mm), Dan. Brown, Tim Goodwin, [and others], 1704Footnotes:The first edition of the 'first technical dictionary in any language. The most famous of his contributors was Isaac Newton' (PMM). A second volume was published in 1710.Provenance: Thomas Snyddon, 12 October 1788, ownership inscription on the 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
KIRCHER (ATHANASIUS)Polygraphia nova et universalis ex combinatoria arte detecta, woodcut on title-page, 3 folding tables (one engraved, 2 letterpress), spotting and some paper toning, old ownership inscriptions erased in ink (oxidised resulting in minor losses to blank lower margin), early limp vellum, light soiling [Sommervogel IV, 1059], folio (330 x 232mm.), Rome, Varese, 1663Footnotes:First edition of Kircher's treatise on cryptography and the creation of a universally understood language. The appendix is devoted to a discussion of Johannes Trithemius' Polygraphia (1518) which had inspired Kircher's interest in the subject.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
BRUNEL (ISAMBARD KINGDOM)Autograph letter signed ('I K Brunel') to his son ('My dear Isambard'), written after the successful launch of the SS Great Eastern, assuring him he did not mind he was not present, describing at length the anxieties he endured following the first failed launch attempt ('...I have had a hard time of it and have felt the advantages of perseverance and patience...'), admitting he was at fault ('...all the evils and difficulties in such cases are the result of our own imprudence or mistakes...'), explaining the reasons for the failure ('...I had originally designed a complete apparatus which could, as I now see, have launched the ship perfectly. Under the influence of irritating intrigues and insinuations about the costliness of the entire operation, I made enquiries and satisfied myself that in all probability I could dispense with much of the apparatus: I did so and hence all the difficulties...') and the eventual success ('...a combination of circumstances of very high tide, a long period of high water, a very favourable wind and a fine day...'), speaking of his relief ('...quite unaccountable...') and the power of prayer ('...I can assure you that I have ever in my difficulties prayed fervently...'), ending by hoping to see him that evening and mentioning an appointment with Stephenson, 10 pages, light dust-staining at folds, browning and some loss to last leaf at fold, 8vo (202 x 130mm.) [n.p.], 2 February [18]58; with a wooden box bearing the name 'H.M. Brunel Esq' in ink on lid containing a note from Isambard Brunel bequeathing the box and its contents to his brother Henry ('This for my brother Henry./ The most valuable possession I can leave him/ I. Brunel/ August 4th 1888'), note on blue paper, fragile, edges frayed and dust-stained, red wax seal of Isambard Brunel, 85 x 140mm., box 178 x 85 x 55mm.) (3)Footnotes:'ALL THE EVILS AND DIFFICULTIES IN SUCH CASES ARE THE RESULT OF OUR OWN IMPRUDENCE OR MISTAKES'Just two days after the successful launch of the SS Great Eastern on 31 January 1858, a thankful Isambard Kingdom Brunel (1806-1859) writes a candid letter to his son Isambard revealing his disappointment at the failure of the first launch, giving his own insight as to what went wrong and ascribes the final success to his own dogged determination, favourable weather conditions and a certain amount of divine intervention. It had been a project fraught with difficulties from the beginning and one in which Brunel was heavily invested both financially and physically: 'I never embarked on one thing to which I have so entirely devoted myself, and to which I have devoted so much time, thought and labour, on the success of which I have staked my reputation...' he wrote (www.brunel200.com).Brunel's ambitious vision was for a ship, originally called Leviathan (and affectionately referred to by him as the 'Great Babe'), capable of taking 4,000 passengers from England to Australia without the need to refuel, the largest iron steamship ever built at that time. He went into partnership with John Scott Russell, an experienced Naval architect and ship builder. Unbeknownst to Brunel, Russell was already in financial trouble and the two men disagreed on many details of the construction. In February 1856, Russell was declared bankrupt and Brunel was forced to take over the project himself. Uncooperative workers and legal wrangling led to slow progress and financial pressures forced an early attempt at launching the ship on 3 November 1857. The launch was a disaster – Brunel could no longer afford the specialist hydraulic launching gear specially built for the project ('...a complete apparatus which could, as I now see, have launched the ship perfectly...') and had to make do with steam winches and capstans worked by teams of men. As a result, in front of a large paying crowd at Napier Yard in Millwall, the ship remained resolutely stranded on its specially constructed launch rails. Two men were killed in the attempt and several others injured. Charles Dickens was in the throng and described the excited scene thus: 'A general spirit of reckless daring seems to animate the majority of the visitors. They delight in insecure platforms; they crowd on small, frail, house-tops; they come up in little cockle-boats, almost under the bows of the great ship... Many in that dense floating mass on the river and the opposite shore would not be sorry to experience the excitement of a great disaster... Others trust with wonderful faith to the prudence and wisdom of the presiding engineer...' In a candid admission to his son, Brunel here admits culpability for the failure and blames himself for listening to the 'irritating intrigues and insinuations' of others ('...I did so and hence all the difficulties...').After several further attempts in November, with the help of a new hydraulic system, fortuitous weather conditions and resorting to fervent prayers (despite believing prayer to be 'incompatible with the regular movement of the mechanism of the universe'), the ship was successfully launched on 31 January 1858, a day later than planned. The stress and relief felt by Brunel is palpable in this letter in equal measure. During his final inspection of the ship at Deptford on 5 September 1859, Brunel suffered a stroke from which he was never to recover. He died shortly after the ship's maiden voyage, knowing she had already been damaged by an explosion. The letter is published in Cecilia Brunel Noble's The Brunels: Father and Son, 1938: '...The next day Isambard wrote himself to his son, and this letter lifts, for a moment, a corner of the curtain which hid from the world the agonies of his soul...' (p.236). Provenance: Isambard Brunel (1837-1902); given to his brother Henry Marc Brunel (1842-1903) in 1888, according to a note in the accompanying box; his niece Celia Noble; her daughter Cynthia Noble; Miles Jebb, Lord Gladwyn; thence by descent to his niece, the present owner.For further information on this lot please visit Bonhams.com
NEWTON (ISAAC)Opticks: or, a Treatise of the Reflections, Refractions, Inflections and Colours of Light. The Third Edition, Corrected, JOHN DAVIES' COPY, ANNOTATED AND WITH ADDITIONAL MANUSCRIPT MEMOIR BOUND IN, 12 folding engraved plates (one slightly shaved touching neatline, 2 with minor archival repair to fore-edge), 13 full-page manuscript notes before title, approximately 20 side-notes or minor annotations, modern blindstamped calf antique, red gilt morocco spine label [Babson 135], 8vo, William and John Innys, 1721Footnotes:The enlarged third, and last lifetime, edition of Newton's Opticks, which 'did for light what his Principia had done for gravitation, namely, placed it on a scientific basis' (Babson, quoting Prof. E.W. Brown of Yale University), inscribed, annotated, and with inserted manuscript material by John Davies (1679-1732). Educated at the Charterhouse School, and then Queens' College, Cambridge, for which he was made President in 1717, and vice-chancellor in 1726. It seems probable that Davies would have crossed paths with Newton, as 'the world of scientific learning... did not forget that a man of superlative quality lived and worked in Cambridge' (ODNB) as his reputation grew.Davies was a close friend of the classical scholar Richard Bentley, and an editor of the works of Cicero, Caesar, Lactantius, Minucius Felix, and Maximus of Tyre. He has signed and dated this volume ('I. Davies / 1725') in a practised print hand, and mingled that hand with a fine neat italic elsewhere (for comparison, see British Library MS Stowe 750, fol. 252), in particular for the biographical material. His annotations in Opticks show a close reading of the text, referencing in his side-notes to works by John Locke (Concerning Human Understanding), George Cheyne (An Essay on Health, 1724), John Ray, and the Dutch mathematician Willem Jacob 's Gravesande. Beneath his signature, Davies writes a preliminary comment concerning Newton's notes on colours, sunlight and refractions (citing his chapter on 'Homogeneal light', pp.106-108). Evidence of Davies' reading beyond the text is indicated with long quotation from Swift's Proposal for Correcting the English Tongue (1712), and a couplet from Roscommon's translation of Horace ('Such secrets are not easily found out; But, once discovered, leaves no room for doubt'), and, more obviously related to Newton, on the rear pastedown a two-line 'Epitaph' on Newton copied from a periodical of 1731, and two printed memorial clippings.Of particular interest is Davies's twelve-page manuscript memoir of Newton bound in at the front. This is based very closely on two printed sources, Bernard Le Bovier de Fontenelle's Éloge de Newton (in its English translation of 1728), and the biographical preface to Henry Pemberton's View of Sir Isaac Newton's Philosophy (1728). But Davies revises, corrects, rearranges, and selects from the former, eliminating almost everything regarding the Principia, and adds additional information (e.g., the dates of Newton's Cambridge degrees, the name of Newton's mother – not 'Anne' Ayscough but 'Hannah'). Davies also includes a reference, seemingly absent from both Fontenelle and Pemberton's accounts, to the fact that 'Sr. Isaac in one of his private letters, was of Opinion that the Frame of Nature may be nothing but various Contexture of aetherial Spirits or Vapours condens'd as it were by precipitation...'. This famous speculation is actually not found in a 'private letter', but in Newton's Hypothesis Explaining the Properties of Light discoursed of in my several Papers, as sent to Royal Society, in January 1675/6, and first printed by the Society in December 1675, an indication that Davies was engaging with Newton's writings beyond the more commonly available sources.For a recently-discovered manuscript of another Cambridge man close to Newton, see the notebook of his amanuensis John Wickins sold in these rooms on 31 March 2021.Provenance: John Davies (1679-1732), ownership inscription (dated 1725), notes and annotations; Robert Aytoun, ownership inscription (dated 1820) at inner margin of title-page.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
A 9ct gold fancy-link chain, comprising a series of Byzantine links of part-ropetwist design, length 47cm.Condition report: Light surface wear throughout, clasp is currently functioning. Birmingham hallmark, date letter indistinct but possibly for 1982. Width of links 6.5mm. Gross weight approx. 51gm.
A diamond set 'Magic' combination ring by Georg Jensen, comprising an 18ct yellow gold double row openwork band of crossover design, signed and numbered 1314, enclosing a detachable 18ct white gold band, inset with a line of round brilliant-cut diamonds, signed GJ, each with 18ct gold convention mark and Danish three tower mark, total diamond weight approximately 0.45ct, ring size O½Condition report: General surface wear, scuffs/scratches, nicks and chips to both bands, commensurate for use. Patchy light wear to marks. Diamonds are well matched with a bright and lively appearance, each weighing approx. 0.05ct, estimated VS1 to SI1 clarity and H to J colour, assessed mounted. Combined gross weight approx. 13.2gm.
An emerald and diamond cluster ring, the oval mixed-cut emerald collet set within a border of round brilliant-cut diamonds, between similarly cut diamond set shoulders, 18ct two colour gold mounted, hallmarked for London 1991, signed HIRSH with maker's mark HFJ, total diamond weight approximately 0.30ct, ring size J½Condition report: The emerald has a light to mid green hue with surface abrasion, measuring approx. 5.5mm length x 4.3mm width, and contains multiple pale inclusions that give a sub-transparent appearance. Diamonds are well matched, fairly bright and lively, with estimated VS2 to SI2 clarity and H to K colour, assessed mounted. The ring mount has scuffs, scratches, nicks and chips commensurate for use and marks are clearly struck. One side of the underbezel to the setting has been pierced/worn away, probably due to prior wear against another ring. Gross weight approx. 3.1gm.
A smoky quartz single stone pendant, the rectangular fancy-cut smoky quartz in four claw setting, with foliate decorated gallery and surmount, yellow precious metal mounted, and a pair of citrine ear pendants, each rectangular step-cut citrine in four claw setting, below a triangular surmount, on threaded post fittings, also yellow precious metal mounted, pendant length 4.8cm, ear pendants length 3.4cm (2)Condition report: Pendant: the smoky quartz has a light to mid yellowish-brown hue, with a curved crown of lozenge-shaped facets and a step-cut pavilion, with surface wear, scuffs and occasional small nicks/chips, commensurate for use. The smoky quartz measures approx. 29.3mm length x 24.3mm width x 16.8mm depth. The pendant mount has general surface wear, scuffs and nicks/chips throughout and is unmarked. Metal standard is untested. Gross weight approx. 25.5gm. Ear pendants: the citrines have a light to mid orangey-yellow hue with areas of whiteish colour zoning and surface wear, scuffs and small chips/nicks, commensurate for use. Each citrine measures approx. 14.5mm length x 9.3mm width x 5.3mm depth. The mounts have general surface wear, scuffs and nicks/chips throughout and are unmarked. Metal standard is untested. Gross weight approx. 7.4gm.
A diamond set clasp, modelled as a fluted openwork ribbon bow, with single-cut diamond accents, 14ct gold mounted, with London import marks for 1984, length 2.7cmCondition report: Light surface wear throughout. Diamonds have variable clarity, some stones with surface-reaching fractures, but have a fairly lively appearance. The tongue clasp is tight fitting. Can accommodate six strands. Gross weight approx. 4.6gm.
A diamond dress ring, designed as two crossover rows of round brilliant-cut diamonds, 18ct rose gold mounted, total diamond weight approximately 0.35ct, ring size L½Condition report: Of modern manufacture, with light surface wear throughout. Diamonds are well matched, bright and lively. Gross weight approx. 3.3gm.
A cultured pearl necklace, comprising a single strand of uniform cultured pearls, each measuring approximately 6.5 to 6.8mm in diameter, to a yellow precious metal clasp stamped '375', length 44.5cmCondition report: Cultured pearls are well matched, of creamy-white hues with subtle iridescence, with light surface wear, pitting and shallow blemishes to the nacre surface. The clasp is currently functioning and is signed 'JKa'. Gross weight approx. 26.4gm.
A ruby and diamond half hoop ring, alternately set with pairs of square step-cut rubies and round brilliant-cut diamonds, 18ct white gold mounted, hallmarked for London 1973, numbered 6821, total diamond weight approximately 0.16ct, ring size N½Condition report: Diamonds are well matched, bright and lively, with estimated VS1 to SI1 clarity and H to K colour, assessed mounted. Rubies are well matched, of pinkish-red hues, with small inclusions and good transparency. One of the rubies has a chip to the corner, some of the rubies have chips/fractures to the pavilion facets and all stones have light surface wear. Each ruby measures approx. 2.5mm to 2.8mm in length. The mount has foliate engraved sides, with light surface wear throughout and an area of heavy scuffs/filing marks to the interior of the shank. Hallmarks are clearly struck, the maker's mark is rubbed. Width of setting 3.5mm. Gross weight approx. 3.5gm.
A pair of diamond half hoop rings, each with a line of slightly graduated round brilliant-cut diamonds in claw settings, 18ct white gold mounted, hallmarked for Birmingham 2004, total diamond weight approximately 0.60ct, ring size J (2)Condition report: Diamonds are well matched, bright and lively, with estimated VS1 to SI1 clarity and H to J colour, assessed mounted. The ring mounts have light surface wear and each measures approximately 3mm width at the widest part of the setting. Each ring is set with eleven diamonds which graduate from approximately 0.04ct to 0.02ct in weight. Lasered hallmarks are clearly struck, the maker's mark is a scrolled 'B'. Gross combined weight of both rings approx. 5.6gm.
A diamond cluster ring, the transitional round brilliant-cut diamond in millegrain collet setting, to a similarly set border of old-cut diamonds, above a geometric pierced gallery, the reeded hoop with diamond set shoulders, white precious metal mounted, principal diamond weight approximately 1.35ct, total diamond weight approximately 1.60ct, ring size M½Condition report: The principal diamond has a bright and lively appearance, drawing a light yellowish tint, with estimated VS1 to VS2 clarity and K colour, assessed mounted. Principal diamond dimensions approx. 7.3mm to 7.4mm diameter x 4.1mm depth. Bordering diamonds are mostly well matched with a bright and lively appearance, occasional stones with small surface-reaching fractures/chips, estimated VS2 to P1 clarity and H to K colour, assessed mounted. The ring mount has general wear, scuffs and chips/nicks commensurate for use. The back of the shank has been re-sized with a later added section and has associated solder joins. Metal standard is untested. Diameter of setting approx. 1.2cm. Gross weight approx. 3.1gm.
An Art Deco style diamond panel brooch, the rectangular panel pierced with stylised foliate and anthemion motifs, millegrain set throughout with graduated brilliant, single and old-cut diamonds, white precious metal mounted, principal diamond weight approximately 0.25ct, total diamond weight approximately 2.50ct, length 4.9cmCondition report: Diamonds have slightly variable colour and clarity but give an overall bright and lively appearance, some stones with chips/surface-reaching fractures and light brownish/yellowish tints, with estimated SI1 to P2 clarity and H to M colour, assessed mounted. Bordering diamonds graduate from approximately 0.08ct to 0.01ct in size. One of the outer diamonds appears to be a later brilliant-cut replacement. The brooch mount has surface wear, scuffs and nicks throughout, with solder joins at the junctions to the fittings. The brooch pin is a little mis-shapen but currently functioning. The mount appears to be unmarked and metal standard is untested. Gross weight approx. 12.7gm.
A late 19th century pink topaz brooch/pendant, modelled as a scrolled ribbon-shaped panel, profusely engraved with flowerheads and foliage to a textured ground, highlighted with four octagonal mixed-cut pink topaz in collet settings, gold mounted, with base metal pin, and a rock crystal locket pendant, the cover reverse carved with a cross and star motifs, the reverse with plaited hairwork, brooch length 5.2cm, pendant length 3.1cm (2)Condition report: Brooch/pendant: The pink topaz are well matched, of light pink hues, some stones containing faint inclusions, one stone containing fracture/feather inclusions, all with surface wear, nicks and occasional chips. The largest stone measures approx. 8.8mm length x 7.5mm width x 3.9mm depth and the smallest stone measures approx. 7mm length x 6.2mm width x 3.4mm depth. The mount has general surface wear and patchy tarnishing, engraved decoration is cripsly defined. The back is fitted with two small loops, allowing the addition of a necklace chain. The pin is mis-shapen but functioning. Gold standard is untested. Gross weight approx. 8.7gm. Locket pendant: In worn condition, with scuffs, chips and nicks throughout and patchy tarnishing to mount. Dust/dirt residue to hairwork. Metal is untested. Gross weight approx. 8.1gm.
A double strand cultured pearl necklace with diamond clasp, comprising two strands of uniform cultured pearls, each measuring approximately 7mm to 7.5mm in diameter, to a rosette-shaped openwork panel clasp, centred with an old brilliant-cut diamond in millegrain collet setting, bordered by two rows of smaller similarly set old brilliant and old-cut diamonds, two colour precious metal mounted, principal diamond weight approximately 1.10ct, total diamond weight approximately 1.80ct, length 85cmCondition report: The principal diamond is bright and lively but contains small dark mineral inclusions and a surface-reaching fracture, with estimated P1 clarity and I to J colour, assessed mounted. Principal diamond dimensions approx: 7.1mm to 7.4mm diameter x 3.7mm depth. Bordering diamonds are well matched, bright and lively, with estimated VS1 to SI2 clarity and H to K colour, assessed mounted. The clasp mount appears to be relatively modern, with light surface wear, and is unmarked. Metal standard is untested. Diameter of clasp approx. 2.5cm. Cultured pearls are well matched, of creamy-white hues with a subtle iridescent lustre, most with surface wear, pitting, ripples and blemishes to the nacre, commensurate for use. Combined gross weight approx. 115gm.
A cultured pearl double strand bracelet with platinum clasp, comprising two strands of uniform cultured pearls of silver-white hues, to a platinum bar-shaped clasp hallmarked for London 2001, length 20cmCondition report: Cultured pearls are well matched, with a subtle iridescent lustre to a silver-white body colour, measuring approximately 7mm to 7.4mm in diameter. All have light surface wear and some have ripples, shallow pitting and blemishes to the nacre surface. One of the strands has been re-strung. The clasp is functioning but a little difficult to operate, with some play between the bars, and has light wear. Gross weight approx. 37.2gm.
A diamond single stone ring, the round brilliant-cut diamond in raised six-claw setting, 18ct gold mounted, hallmarked for Sheffield 2000, maker's mark EF, diamond weight approximately 1.30ct, ring size KCondition report: The diamond has a bright and lively appearance but contains a large pale fracture inclusion to the centre that is partly surface-reaching to the table facet, a smaller mineral inclusion to the side of this fracture, a dark inclusion to the side crown facets and a further fracture to the side crown facets. These inclusions can be seen to the unaided eye and the facet symmetry is off-centre. Estimated I to J colour and P3 clarity, assessed mounted. The diamond measures approximately 7.3mm in diameter, depth is unknown due to the style of the setting. The ring mount has light surface wear, scuffs and nicks, commensurate for use. The setting measures approx. 8.7mm in height. Marks are clearly struck. Gross weight approx. 4.5gm.
A pair of jade ear pendants, each teardrop-shaped jadeite bead suspended from a linear surmount, with foliate engraved decoration and hoop accents, on post fittings, white precious metal mounted, (jade untested for treatments), length 4.7cmCondition report: One of the jade beads is loose fitting in its cap and each bead measures approx. 21mm length x 7.3mm width. Both beads are of variable light green and patchy white hues with surface wear and surface-reaching veins/fractures. The mounts have surface wear, nicks and scuffs and the post and bead fittings may be later replaced. Metal standard is untested. The butterflies are modern. Gross weight approx. 4.5gm.
A diamond bangle, of hinged oval design, the crossover frontispiece accented with a channel of princess-cut diamonds, yellow precious metal mounted, stamped '14K', total diamond weight approximately 1.60ct, inner diameter 5.9cmCondition report: Of modern manufacture, with light surface wear, scratches, scuffs and nicks commensurate for occasional use. The clasp and safety catch are tight fitting. Diamonds are well matched, bright and lively, with estimated VS1 to SI1 clarity and H to J colour, assessed mounted. Metal standard is untested. Gross weight approx. 32gm.
An aquamarine and diamond cluster ring, the cushion-shaped mixed-cut aquamarine claw set within an octagonal border of round brilliant-cut diamonds, 18ct white gold mounted, hallmarked for London 1987, maker's mark GF, total diamond weight approximately 1.20ct, ring size NCondition report: The aquamarine has a light and even greenish-blue hue with surface wear, chips and scuffs, measuring approx. 9.6mm length x 8.1mm width x 5.7mm depth. Diamonds are well matched, bright and lively, some stones with surface-reaching fractures, with estimated SI1 to P1 clarity and H to J colour, assessed mounted. Each diamond weighs approx. 0.10ct. The ring mount has surface wear, scuffs, nicks and chips, commensurate for use. Marks are clearly struck. Setting dimensions approx. 1.6cm length x 1.45cm width. Gross weight approx. 5.5gm.
A diamond bombé dress ring, pavé set with three rows of single-cut diamonds, between fluted borders, 18ct white gold mounted, with London import marks for 1979, maker's mark A LD, total diamond weight approximately 0.65ct, ring size M (leading edge)Condition report: Diamonds are well matched, bright and lively, occasional stones with small mineral inclusions or fractures, estimated VS1 to SI3 clarity and H to J colour, assessed mounted. Diamonds weight approx. 0.02ct each. The ring mount has light surface wear, commensurate for occasional use. Width of mount tapers from approx. 9mm at top to 5.8mm at base. Gross weight approx. 8.5gm.
A diamond single stone ring, the round brilliant-cut diamond in six claw setting, white precious metal mounted, stamped '1.64', ring size KAccompanied by retailer's purchase papers issued by Imhof S.A. of Geneva, stating that the diamond has VVS1 clarity and 'Wesselton' colour, weighing 1.64ct, dated 19 February 1980, and retailer's valuation for insurance issued by Imhof S.A. of Geneva, dated 17 March 1980 Condition report: The diamond has a bright and lively appearance, with a bruted girdle, estimated VVS1 clarity and H colour, assessed mounted. Diameter of diamond approximately 7.8mm, depth unknown as setting is closed-backed. Height from base of setting to table facet of diamond approx. 6.8mm. The ring mount has light surface wear and scuffs, commensurate for occasional use. Metal standard is untested, but assumed to be white gold. Gross weight approx. 2.6gm.
A blue topaz and diamond cluster pendant on chain, the oval fancy-cut blue topaz collet set within a border of round brilliant-cut diamonds, white precious metal mounted (hallmark rubbed), suspended from a fine fancy-link chain stamped '750', total diamond weight approximately 0.25ct, pendant length 3.4cm, chain length 46.5cmCondition report: The blue topaz has an arrangement of triangular and kite-shaped facets to both sides and light surface wear throughout, measuring approximately 29.5mm length x 14.5mm width x 10.2mm depth. Diamonds are well matched, bright and lively, with estimated VS1 to SI2 clarity and H to K colour, assessed mounted. The pendant mount and chain have light surface wear and the clasp is currently functioning. The pendant mount is untested for metal standard but presumed to be white gold. Combined gross weight approx. 13.5gm.
A sapphire and diamond half hoop ring, centred with a channel of graduated square mixed-cut sapphires, between two rows of round brilliant-cut diamonds, 18ct white gold mounted, hallmarked for London 2008, total diamond weight approximately 0.25ct, ring size NCondition report: Sapphires are well matched, of mid blue hues with good transparency, most stones containing areas of faint colour zoning, fracture and feather inclusions that are visible under magnification. The sapphires graduate from approximately 2.8mm to 1.8mm in length and have surface wear, nicks and scuffs. Diamonds are bright and lively, mostly well matched, with estimated VS1 to SI2 clarity and H to L colour, assessed mounted. The ring mount has light surface wear, the setting graduating from 5.7mm to 4.8mm in width. Lasered hallmarks are fairly clear, the maker's mark is difficult to read. The shank is also stamped 'D030 124'. Gross weight approx. 6gm.
An 18ct gold fancy-link bracelet by Tiffany & Co., of milanese-link design, signed T&Co., with London hallmark, accompanied by maker's box, length 18.5cmCondition report: Light surface wear, scuffs and nicks throughout, commensurate for occasional use. Small areas of staining. Clasp is functioning. Marks are clearly struck, date letter is difficult to read but possibly for 2007. Width of milanese section 0.95cm. Gross weight approx. 25.8gm. Wear to maker's box.
An aquamarine and diamond three stone ring, the rectangular step-cut aquamarine claw set between two round brilliant-cut diamonds in collet settings, 18ct gold mounted, hallmarked for Birmingham 2000, maker's mark HM, total diamond weight approximately 0.25ct, ring size K½Condition report: The aquamarine has a light greenish-blue hue with good transparency, containing some faint linear inclusions when viewed under magnification at an angle to the table facet. The aquamarine has light surface nicks and scuffs and a chip to the girdle. Aquamarine dimensions approx. 17.4mm length x 11.5mm width x 7.8mm depth. Diamonds are well matched, bright and lively, with estimated VS1 to VS2 clarity and H to I colour, assessed mounted. The ring mount has light surface wear, commensurate for occasional use. Gross weight approx. 8gm.
An aquamarine brooch/pendant by David Thomas, the cushion-shaped mixed-cut aquamarine enclosed by a tiered openwork surround of abstract linear design, 18ct two colour gold mounted, hallmarked for London 1975, maker's mark DAT, accompanied by maker's case, aquamarine dimensions approximately 25.5mm length x 20.5mm width x 12mm depth, length 5.1cmCondition report: Light surface wear to aquamarine, with occasional small nicks/scuffs. The mount has occasional small splits to the back, at junctions within the abstract linear surround, which can be seen under magnification. The mount has areas of solder at junctions to the back of the surround, which may be part of manufacture. Some of the outer linear sections are a little mis-shapen. The mount otherwise has light surface wear, nicks and scuffs throughout, commensurate for occasional use, with small areas of tarnishing. The brooch pin and safety catch are currently functioning. Gross weight approx. 38.3gm.
An emerald fringe necklace and ear pendants suite by David Thomas, the necklace designed as a fringe of graduated pear-shaped pendant drops of abstract openwork design, each centred to the front with a pear-shaped cabochon emerald in collet setting, suspended from a series of tapered and articulated abstract openwork panels, 18ct gold mounted, the ear pendants of conforming design, 18ct gold mounted, with later replaced clip fittings stamped '14K', the suite signed D.A.T and hallmarked for London 1973, accompanied my maker's cases, necklace length approximately 48cm, ear pendants length 4.6cm (2)Condition report: Light surface wear, scuffs and nicks throughout the necklace and ear pendants, commensurate for occasional use. Some thinning to the edges of the settings. Some surface imperfections to the mounts, which are presumed to be part of the manufacture and abstract design. Hallmarks are clearly struck. The clip fittings to the ear pendants are not original and have been later replaced, both are currently functioning. The necklace clasp is also functioning. The necklace tapers in width from approx. 3.85cm at the front to 1.25cm at the back. The ear pendants measure approx. 2.3cm width at the widest point. Approximate gross weights: necklace 144gm, earrings 18gm.Emeralds have variable mid-green hues, some with whiteish cloudy areas giving a sub-translucent to opaque appearance. Many of the emeralds have surface-reaching fractures and all stones have typical fractures, fissures and minerals giving a heavily included appearance. Some stones have chips and pitting to the surface which may be original to the piece. Emeralds graduate from approximately 9.1mm length x 5.9mm width x 3.6mm depth to 6.5mm length x 4.7mm width x 2.8mm depth. Emeralds are untested for origin and use of treatments.Light wear to maker's boxes.
An aquamarine and diamond cluster ring, the cushion-shaped mixed-cut aquamarine claw set within a border of single-cut diamonds, 18ct white gold mounted, hallmarked for London 1969, total diamond weight approximately 0.55ct, ring size P½Condition report: The aquamarine has a light greenish-blue hue with good transparency and surface wear, scuffs and nicks, measuring approx. 17.3mm length x 14.2mm width x 8.7mm depth. Diamonds are well matched and bright, some stones with small mineral/fracture inclusions and occasional stones with small nicks/chips, with estimated VS2 to P1 clarity and H to J colour, assessed mounted. Each diamond weighs approx. 0.02ct. The ring mount has light scuffs, scratches and nicks/chips. The shank has been re-sized with a later added section. Gross weight approx. 8.5gm.
A sapphire and diamond cluster ring, the oval mixed-cut sapphire claw set within a border of round brilliant-cut diamonds, 18ct two colour gold mounted, hallmarked for London 1987, sapphire dimensions approximately 10.8mm length x 8.8mm width x 4.9mm depth, total diamond weight approximately 1.10ct, ring size JCondition report: The sapphire has a mid to dark blue hue with faint angular colour zoning and areas of possible needle 'silk' inclusions that give a slightly hazy appearance when viewed under magnification, which may be as a result of heat treatment. The sapphire has light surface wear and occasional nicks/scuffs. Diamonds are well matched, bright and lively, with estimated H to J colour and VS1 to SI1 clarity, assessed mounted. Approximate weight of each diamond 0.08ct. The ring mount has light surface wear, nicks and scuffs with a re-sizing solder join to the back of the shank. Marks have patchy light wear. Setting dimensions approx. 17.7mm length x 15mm width. Gross weight approx. 4.7gm.
A pair of diamond half hoop rings, each designed as a line of round brilliant-cut diamonds, 9ct white gold mounted, total diamond weight approximately 0.25ct, ring sizes K and K½ (2)Condition report: Of modern manufacture, with light surface wear throughout. Diamonds are well matched, bright and lively, some stones containing small inclusions when viewed under magnification. Average weight of each diamond approx. 0.015ct. Gross weight approx. 2gm.
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534297 Los(e)/Seite