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Preisdatenbank abonnierenFLEMING (IAN)Goldfinger, 1959; Dr. No., second impression, May 1958; The Spy Who Loved Me, 1962; You Only Live Twice, 2 copies, slight abrasion to upper joint of jacket on one copy, 1964; The Man with the Golden Gun, 1965, FIRST EDITION unless mentioned, publisher's cloth, pictorial dust-jackets (unclipped, light toning), 8vo, Jonathan Cape (6)This lot is subject to the following lot symbols: •
HEANEY (SEAMUS)Eleven Poems, [1965]--LONGLEY (MICHAEL) Ten Poems, [1965]--MAHON (DEREK) Twelve Poems, FIRST EDITION, FIRST ISSUE, light pencil markings by the first owner to 2 poems ('Scaffolding' and 'Death of a Naturalist') in the Heaney volume, each printed on laid paper, publisher's stapled wrappers, with the sun device with nine 'points' printed on the upper cover in purple, 8vo, Belfast, Festival Publications Queen's University; and 5 other 'Festival Publications' by Joan Newmann, Philip Hobsbaum, James Simmons, Stewart Parker, and Laurence Lerner (8)This lot is subject to the following lot symbols: •
KELMSCOTT PRESSMORRIS (WILLIAM) The Water of the Wondrous Isles, LIMITED TO 250 COPIES, printed in red and black, woodcut initials and decorative borders, a cut signature of William Morris loosely inserted, publisher's limp vellum, gilt lettering on spine, green silk ties, small area of light soiling on spine but generally clean [Petersen A45], 4to, Kelmscott Press, [1897]This lot is subject to the following lot symbols: •
MITCHELL (MARGARET)Typed letter signed ('Margaret Mitchell Marsh'), to 'My dear Mrs. Maidwell', thanking her for her letter about Gone With the Wind, pleased that 'Scarlett and Rhett would find friends in England', confirming 'No, I do not contemplate writing a sequel to 'Gone With the Wind.' To tell the truth, I do not know what happened to this obstinate couple after the end of the book... I have never written any other book and I am not working on any book now' for, since the publication of GWTW her life 'has been lived in the middle of a tornado', mentioning the forthcoming film 'At present only one of the cast has been chosen, - Walter Connolly will play the part of Gerald O'Hara. I have no connection whatever with the film production and do not intend to go to Hollywood or to have anything to do with the matter,' and enclosing a pamphlet [not included in the lot]; with typed envelope, 1 page, printed heading 'Margaret Mitchell', some light dust staining at folds, 4to, Atlanta, Georgia, 27 July 1937
MORRIS (WILLIAM)VALLANCE (AYMER) The Art of William Morris... With Reproductions from Designs and Fabrics Printed in the Colours of the Originals... Also a Bibliography by Temple Scott, FIRST EDITION, NUMBER 2 OF 220 COPIES, photogravure portrait frontispiece, 40 colour plates, numerous others, tissue guards, occasional light spotting, publisher's linen-backed buckram, t.e.g., folio (390 x 280mm.), Chiswick Press for George Bell and Sons, 1897This lot is subject to the following lot symbols: •
NESBIT (EDITH) AND OSWALD BARRONThe Butler in Bohemia, FIRST EDITION, PRESENTATION COPY INSCRIBED BY NESBIT 'To E.N. da C. Andrade from E. Nesbit. Dec. 27 1910. B.P.' on the front paste-down, correction in ink to one word of text on p.140, light spotting to title, short tear to dedication leaf (to Rudyard Kipling), publisher's limp cloth, lettered in red on upper cover, 8vo, Henry J. Drane, 1894This lot is subject to the following lot symbols: •
PHOTOGRAPHY - CAMERA WORKCamera Work. A Photographic Quarterly, 20 issues (comprising nos. 10, 13-15, 17-29, and 31-32) bound in 5 vol., edited by Alfred Stieglitz, issue 10 inscribed 'With the Editor's Compliments - Epreuve' on front free endpaper, 199 photographic plates (of 203 called for, mostly photogravure, a few colour), lacks title to issue 26 and several tissue guards, publisher's cloth, title and year on upper cover and spine, one of the publisher's front wrappers bound in each volume (2 loose), light soiling, folio, New York, Alfred Stieglitz, April 1905-October 1910, sold as a periodicalThis lot is subject to the following lot symbols: •
ROYALTY - CORONATION BOOKSThe Form and Order of the Service... in the Coronation of Their Majesties King Edward VII. and Queen Alexandra... edited by Sir Frederick Bridge, NUMBER 6 OF 500 LARGE PAPER COPIES, publisher's gilt-blocked morocco, g.e., Novello and Company, 1902; Idem, another copy, NUMBER 14 OF 500 COPIES, publisher's vellum gilt, t.e.g., [Henry Frowde, 1902]; Idem, another copy, old pencil note 'The private edition of their majesties from library at Kensington Palace' on verso of title, book block loose stitched in silk-covered boards, the upper cover EMBROIDERED with a design of English roses and foliage in red, white and green silks and gilt threads intertwined with a cartouche lozenge of thicker gilt threads, enclosing embroidered coronet above lettering 'R.VII R' and date '1902', gilt thread and bow holding book block, frayed at spine, [Henry Frowde, 1902]--The Form and Order of the Service... in the Coronation of Their Majesties King George V and Queen Mary, some spotting (heaviest to title), corners slightly rubbed, 1911--The Form and Order of the Service... in the Coronation of their Majesties King George VI and Queen Elizabeth, 1937, publisher's red half decorative morocco gilt, g.e., Novello; Idem, another copy, publisher's vellum gilt, g.e., Eyre and Spottiswoode, 1937--The Ceremonies to be Observed at the Royal Coronation of... King George the Sixth and Queen Elizabeth... The 10th Day of May 1937, PRINCESS BEATRICE'S BOOKPLATE (designed by F. Badeley, 1928), title on upper cover, stitched in original gilt-blocked vellum, g.e., some age soiling, [H.M.S.O., 1937]--The Music with the Form and Order of the Service... at the Coronation of Her Most Excellent Majesty Queen Elizabeth II, NUMBER 120 OF AN EDITION OF 150 COPIES, publisher's decorative red calf gilt, g.e., preserved in original box with limitation label, Novello, 1953--English Sacred Lyrics, inscribed in ink 'For my darling Beatrice... from her loving old teachers, Dec. 8th/96' on front free endpaper (with later pencil note suggesting the Beatrice is Princess Beatrice, daughter of Queen Victoria), EMBROIDERED BINDING of white silk over boards, the upper cover with design of a large central flower and four smaller flowers in the corners in light blue, white and green silks within a border of gilt threads, gilt thread design on spine, g.e., slightly frayed at edges, Kegan Paul, 1884, 8vo, 4to and small folio (9)This lot is subject to the following lot symbols: •
SYNGE (JOHN MILLINGTON) [AND JACK B. YEATS]The Aran Islands, FIRST EDITION, LARGE PAPER EDITION LIMITED TO 150 COPIES, this copy '59' (old number crossed through), signed by both the author and illustrator on the colophon leaf, 12 hand-coloured plates by Yeats, light spotting to endpapers, publisher's cloth gilt, spine soiled, 4to, Dublin, Maunsel, 1907This lot is subject to the following lot symbols: •
TOLKIEN (J.R.R.)The Hobbit or There and Back Again, second impression, half title, 5 plates (4 colour), 8 illustrations by the author, advertisement leaf, maps printed in black and red on endpapers, publisher's green pictorial cloth, dust-jacket with designs by the author, unclipped, some light staining to edges of cloth, dust-jacket torn at folds with loss to head of spine panel, reinforced on verso, some spotting and staining [cf. Hammond A3(a) and p.13], 8vo, George Allen & Unwin, [1937]This lot is subject to the following lot symbols: •
TOLKIEN (J.R.R.)The Lord of the Rings, FIRST EDITIONS, FIRST IMPRESSIONS, folding map printed in red and black in each volume, occasional light spotting (mostly to endpapers), publisher's red cloth, dust-jackets (unclipped, some fading to spines, 'Fellowship' with single spot on upper cover, corners slightly frayed; 'Return' with black smudge partly obscuring publisher's name on spine; 'Two Towers' spine (extending onto sides) crudely repaired with tape with old tears and some loss of text, front hinge split and repaired), 8vo, George Allen and Unwin, 1954-1955This lot is subject to the following lot symbols: •
WILLIAMSON (HENRY)A collection of 20 works inscribed by the author to John Heygate, fellow author and life-long friend, including: The Linhay on the Downs, inscribed on the front free endpaper 'Never let it be thought by John Heygate Esqre. that Mister Henry Williamson did'nt want to give him a copy of his newest book. 8 November 1934' above a large caricature self-portrait wearing a 'Adventurer's High Hat', saluting 'Heil Hitler!' with one hand and with the other indicating 'How do you do Jesus Christ!', whilst stating 'Damn Hugh Walpole anyway' and '...I wish I was back home in Devon...', Cape, 1934; The Golden Virgin, inscribed 'For John and Dora Heygate... gratitude for much help, friendship..., and hospitality... this first copy, at Bellarena, 31 August 1937', dust-jacket, Macdonald, 1957; The Scandaroon, DEDICATION COPY, with lengthy inscription explaining Heygate's role in the gestation of the book, and stating 'This may be my last published book' [It was], dust-jacket, Macdonald, 1972; Tales of a Devon Village, second impression, inscribed to 'John Heygate, author, squire, fisherman and friend', dust-jacket, Faber and Faber, [1946]; One Foot in Devon, inscribed 'To my old colleague and companion in sunshine, seas and sand John Heygate from H.W., June 1933', and beneath the printed dedication to 'Miss A.T. who did all the works' Williamson has added in ink 'and who was given the works', Maclehose, 1933; The Labouring Life, inscribed 'To A.C.G. Heygate Esqre. from Henry Williamson, April 1932', Cape, 1932; The Children of Shallowford, a 20-line inscription dated 1 September 1957, in which the author after re-reading the book notes 'that it shows the author in a bad light. He was in a bad light: but he should have restrained himself, perhaps, from trying to illumine a shadow...', dust-jacket (loss to half of spine), Faber and Faber, 1939; The Dream of Fair Women, inscribed 'To Evelyn [Heygate, previously Waugh], this book about cads, from the author, June 1931. Also to John, who once dreamed. H.W.', Faber and Faber, 1931; The Ackymals, one of 225 copies signed by the author, additionally inscribed 'If I had'nt had 3 pints in the Higher House & returned late for lunch & dashed off my excitations into notes, The Ackymals ... would never have written... 21/12/29', Windsor Press, 1929; How Dear is Life, PROOF COPY WITH CORRECTIONS by both the author and John Heygate, and with two full-page notes by Williamson, wrappers, lacking upper cover, Macdonald, [1954], unless stated FIRST EDITIONS, unless stated publisher's cloth, 8vo; and 7 others (unsigned) by Williamson (27)This lot is subject to the following lot symbols: •
WATSON (JOHN)Memoirs of the ancient Earls of Warren and Surrey, and their Descendants to the Present Time, 2 vol., first published edition, engraved frontispiece portrait, 53 engraved plates (several folding or double-page, one printed in sepia), engraved head- and tail-pieces, occasional light off-setting, contemporary 'Etruscan' binding of panelled calf, tooled in gilt and blind, g.e., Warrington, W. Eyres, 1782--FOXE (CHARLES JAMES) A History of the Early Part of the Reign of James the Second; with an Introductory Chapter, 2 vol., engraved frontispiece, 2 plates, contemporary blue straight-grained morocco gilt, sides with Greek key, floral and pointillé corner-pieces, g.e., W. Miller, 1808--PENNANT (THOMAS) The History of the Parishes of Whiteford, and Holywell, engraved vignette on title and divisional title, 22 plates (one double-page), B. & J. White, 1796; The Literary Life of the late Thomas Pennant Esq. By Himself, 4 engraved plates (one folding, hand-coloured), B. & J. White, and R. Faulder, 1793, 2 works bound in 1 vol., fine contemporary red straight-grained morocco gilt, g.e., 4to (4)This lot is subject to the following lot symbols: •
BRIGGS (HENRY)Logarithmicall Arithmetike. Or Tables of Logarithmes for Absolute Numbers from an Unite to 100000; as Also for Sines, Tangentes and Secantes for Every Minute of a Quadrant, woodcut device on title, divisional title in Dutch (A1r), light soiling to title, occasional spotting, contemporary calf, joints weakened with small old repair) [ESTC S107123], folio (345 x 215mm.), George Miller, 1631This lot is subject to the following lot symbols: •
DARWIN (CHARLES)On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life, FIRST EDITION, FIRST ISSUE, half-title, folding lithographed diagram, 32-page publisher's catalogue dated June 1859 at end, a few light spots to first few leaves and diagram, publisher's blindstamped green cloth (Freeman variant b), lettered in gilt on spine, binder's label of Edmonds and Remnants at end, a little bumped at corners and spine ends, extremities lightly rubbed [Freeman 373; Garrison-Morton 220; Norman 593; PMM 344], 8vo, John Murray, 1859This lot is subject to the following lot symbols: •
ANGLO-ZULU WAR, RORKE'S DRIFT & CETAWAYODiary of Major Henry Sparke Stabb, deputy assistant quartermaster-general of the 2nd Division, 32nd (Duke of Cornwall's) light Infantry (later staff officer to Colonel Whitehead), written in pencil in a field notebook, covering his time in Zululand, including a minute-by-minute account of the battle of Ulundi on 4 July 1879 ('6.20. 2 large bodies of Zulus seen... 8.35 Firing in front for short time... 8.50 Big guns at work & heavy & continuous rifle firing from column... 9.10 Enemy everywhere retiring, rifle firing ceases, cavalry in pursuit... 9.40 Zulus in full retreat on ridge on left. Artillery shelling ridge... 10.15 All quiet. 11.5 Round Kraal fired. Zulus retired to top of hill... 11.25 Bullers men in gallop to Kraal... Rode over battlefield saw many corpses but think report exaggerate enemy's losses (about 700-1000 probably) our loss...12 men killed, 82 officers & men wounded... About 500 of our men had been engaged, enemy estimated at 20,000 & a large reserve on hill top...'); the retreat of the 2nd Division to Fort Marshall and its aftermath ('No message yet from Cetawayo... What is now to be done, & how is it now to end?...'); a visit to Rorke's Drift on 21st July which he found 'most satisfactory'; the hunt for and capture of Cetawayo, describing how the King spent a night at Fort Victoria under strict guard and departed the next day via a secret route; includes a pencil sketch of the square battle formation with note '35,000 oxen used, 12,000 died' and several pages of expenses and addresses, 59 leaves (3 leaves excised), small 8vo (140 x 90mm.), black calf, worn, pencil missing, Durban to Fort Victoria, 14 June to 3 September 1879This lot is subject to the following lot symbols: •
SHEFIK (AHMED)Notes on a Visit to Sinai Monastery and a Motor Car Tour in Sinai Peninsula, in January 1926, first edition in English, AUTHOR'S PRESENTATION COPY, inscribed 'To Kaimakam L.H.C. Hatton Bey, [with mauve stamp] Lewa Director General, Frontier Administration' on the title, photographic portrait frontispiece of Fouad I, King of Egypt, 123 photographic illustrations on 85 plates, very short tear in fore-margin of a few plates, publisher's cloth-backed printed boards, light soiling, 4to, Cairo, Government Press, 1926; with 3 other items, including articles relating to the Nubian and Western Deserts extracted from Annales du Service des Antiquités de l'Egypte, and a typescript article (with pencil annotations) entitled 'Kufu's Treasure' (4)This lot is subject to the following lot symbols: •
VERYARD (ELLIS)An Account of Divers Choice Remarks, as Well Geographical, as Historical, Political, Mathematical, Physical and Moral. Taken in a Journey through the Low-Countries, France, Italy, and Part of Spain; with the Isles of Sicily and Malta. As also, a Voyage to the Levant, FIRST EDITION, 2 folding engraved plates, single ink smudge on title, a few light dampstains but generally clean, contemporary calf, rubbed, some loss to extremities of spine [Atabey 1285; Blackmer 1727; not in Cobham-Jeffery], small folio (320 x 200mm.), S. Smith and B. Walford, 1701This lot is subject to the following lot symbols: •
Jan Josefsz. van Goyen (Dutch 1596-1656) An estuary landscape on the Rhine with square tower and tall gallows signal Oil on panel Signed with monogram and dated 1652 lower left 38 x 55.5cm (14¾ x 21¾ in.) Literature: Volhard, Hans, Die Grundtypen der Landschaftsbilder Jan van Goyens und ihre Entwicklung (Frankfurt: 1927, p. 182) Hofsete de Groot, Cornelius, A Catalogue raisonne of the most eminent Dutch painters of the Seventeenth Century: Based on the Work of John Smith (London: Macmillan & Co, 1908-27) no. 811 Beck, Hans-Ulrich, Jan van Goyen, 1596-1656: ein Oeuvreverzeichnis (Amsterdam: van Gendt, 1972) Vol II, no. 706, p. 322. Illustrated.Provenance: Sale, Valadon & Co., New York, 26 February 1902, Lot 207 (sold for $375) Dowdeswell, London UK private collection, Sir Charles Turner, London Sale, Berlin, Germany, 17 November 1908, Lot 29 (sold for Mk 5600) Paul Cassirer, Berlin by 1918 Hungarian private collection, M. von Nemes, Budapest Sale, Munich, Germany, 16 June 1931, Lot 47 (sold for Mk 6900) Belgian Private Collection, Stern, Brussels The present owner's grandfather, private collection, Munich; thence by descent Possibly held in storage in Zurich Private Collection, Holland by 1970s; thence by descent to the present owner Jan van Goyen was born in Leiden in 1596, and trained in Haarlem with Esaias van de Velde. He was one of the pioneers in depicting the naturalistic landscape in early 17th century Holland, travelling extensively in The Netherlands and beyond. Goyen moved to The Hague in 1631, where he remained until his death in 1656. To support his family Goyen worked as an auctioneer, real-estate investor and art advisor. Goyen also turned to dealing in tulip bulbs imported from Turkey, but suffered severe financial losses when the tulip market crashed in 1637.The present lot depicts a watch tower with gallow signal on the Rhine near Lobith and Schenkenschanz, a view that Goyen often repeated (see Beck reference 704 for comparable view, dated 1651). The present lot is a fine example of Goyen's skillfull manipulation of tonal variations. Through a limited colour palette Goyen was able to render natural light and subtle atmospheric effects in shades of brown, green and grey. His use of a low horizon gives the illusion of a broad expanse focusing the eye on the sky. Next to the watch tower is a small tavern in front of which people congregate to chat. Behind the tower is a cannon aimed ready for flight. In the distance sailing and rowing boats can be seen with a church beyond. There is a barge with four fisherman in the foreground and the artist has signed and dated the work 1652 to the side of the barge.The present lot was sold at auction in New York in 1902, where it was acquired by art dealer Charles William Dowdeswell (1832-1915) of London. Dowdeswell owned and ran a frame-making business in Chancery Lane and in 1878, Charles and his son, Walter opened the art dealership Dowdeswell and Dowdeswell. The gallery was one of the first to promote French Impressionism in London and in 1883 hosted the exhibition Societe des Impressionistes. The gallery closed down in 1912, when Walter Dowdeswell joined art dealer Joseph Duveen.Dowdeswell gallery sold the present lot to London collector Sir Charles Turner who subsequently sold the work in Berlin in 1908. In 1918, the work is known to have been with the renowned German art dealer Paul Cassirer (1871-1926) who played a significant role in the promotion of French impressionist and post-impressionist artists in particular Vincent Van Gogh and Paul Cezanne. The work was sold at auction in Munich in 1931, and bought by a private collector in Brussels.It is likely that the present owner's grandfather purchased this work sometime between 1931 and 1936. The owner, who lived in Munich, fled to Zurich from Germany in 1933, as Hitler came into power. In 1936, he put many of his family's possessions in storage before moving to Milan for about a year until Mussolini started making alliances with Hitler. In 1937, he and his family moved again, this time to Argentina, travelling by boat. The Second World War claimed the lives of 11 of his siblings and both his parents. In 1963, he left Argentina and returned to Zurich but unfortunately without his wife who had died after a long battle with cancer. The work was then passed by descent to his son and then eventually to his granddaughter, the present owner.
Two Persian rugs: The first: Kashan rug, west Persia, circa 1920s-30s 6ft. 9in. X 4ft. 3in. 2.05m. x 1.30m. Overall even wear; slight loss to ends; few 'nicks' to selvedges. Classic Kashan design, light red cartouche-shaped field with indigo centre medallion and ivory inner medallion; ivory and pale blue spandrels; all over flowers and foliage; dark blue scrolling floral main border; ivory and mid-blue guards. The second: Tabriz pictorial rug, north west Persia, circa 1930s-40s, 4ft. 5in. X 2ft. 9in. 1.35m. X 0.84m. Small spots of old moth damage lower end; slight loss to ends. Pale cream field with central vignette of deer with a ewer and flowers with a pond in the foreground with a duck and fish; flowering tree of life in the field with a pair of birds in the upper branches; dark blue floral main border. Soft palette. (2)
Two rugs, the first: Malayer rug, north west Persia, circa 1920s-30s, 4ft. 8in. X 3ft. 7in. 1.42m. X 1.09m. Small areas of old moth damage to borders lower end and to field top end. Slight loss to ends. Dark blue field with pale blue flowerhead centre; scrolling flowers and floral sprays; red floral main border and ivory guards. Lustrous wool; soft handle. The second: Lilihan rug, Hamadan area, north west Persia, circa 1940s-50s, 3ft. 6in. X 2ft. 9in. 1.07m. X 0.84m. Slight loss to ends. Light rose field with all over flowers and foliage; narrow blue/black floral main border and pink and pale yellow floral guards. Soft palette; robust handle. (2)
Decorative pictorial peacock dhurrie, possibly from the Deccan plateau of south India, circa 1900s, 7ft. 8in. X 6ft. 8in. 2.34m. X 2.03m. Some surface marks; overall fading; some seams adrift at the sides; slight loss to fringing at lower end. Light red field with the central peacock in courtship display to the surrounding peahens around a central flowering tree with pairs of splendid parrots; stunning ivory main border of displaying peacocks.
Attractive north west Persian runner, circa 1920s-30s, 14ft. 6in. X 3ft. 5in. 4.42m. X 1.04m. Slight wear in places. Terracotta field with centre diamond pole medallion in ivory and light blue; various ornaments in the field including five pairs of archaic tribesmen(?) motifs; ivory angular trailing foliage main border; pale blue and terracotta floral guards.
Luri runner, south west Persia, early 20th century, 10ft. 6in. X 4ft. 3in. 3.20m. X 1.30m. Overall wear with corrosion to dark brown; small holes; losses to ends and fraying to selvedges. Light red field with centre column of dark blue step-sided medallions with cross motifs within; small animals in the field; ivory medallion main border; inner striped guard; pale blue, pale yellow and light red floral guards. Soft handle.
Karaja runner, north west Persia, circa 1930s-40s, 10ft. 3in. X 3ft. 1in. 3.12m. X 0.94m. Slight loss to lower end; crease mark and small split to left side upper end. Light terracotta field with typical medallions and angular flowers; light red flowerhead and leaf main border; mid-blue medallion guards. Robust handle.
Kashan carpet, (reduced) west Persia, circa 1950s, 13ft. 6in. x 9ft. 4.12m. x 2.75m. Slight wear in places; reduced in length by horizontal cut towards the top end of the carpet and almost at the top end of the medallion. Cartouche-shaped red field with indigo, ivory and pale blue centre medallion, repeated in the spandrels; all over scrolling flowers and foliage; light sand coloured floral main border with pale blue and ivory floral guards.
Caucasian kelleh, Kazak area, late 19th/early 20th century, 11ft. 10in. X 5ft. 11in. 3.60m. X 1.80m. Rubber backing glued verso. Overall wear with heavy moth damage to top right corner; 'bite' to lower left selvedge; selvedges fraying; losses to ends. Light red field with three large lobed and hooked medallions, the centre one with pale blue field, the other two dark blue; all over small geometric ornaments; dark blue main border of conjoined medallions; red 'S' motif outer border.
Saruk 'garden' carpet, north west Persia, circa 1950s, 11ft. X 7ft. 3.35m. X 2.13m. Light surface marks top left corner. All over panelled design of variously coloured floral mihrabs; indigo floral and weeping willow main border, ivory floral guards. Close cropped velvety wool; soft palette and robust handle.
Decorative Kashmir carpet, north India, last quarter 20th century, 10ft. 4in. x 8ft. 3in. 3.15m. x 2.51m. Few surface marks and small areas of old moth damage top end of field. Light stone coloured field with mid-gold flowerheads; scrolling foliage within an all over dark gold trellis; soft red scrolling floral main border and ivory guards. Soft handle and soft palette.
Scandinavian flatweave, woven in lower right corner with initials IS for Ingrid Silow, mid-20th century, 9ft. 11in. X 6ft. 3.02m. X 1.83m. Light brown field with three large deep yellow octagons, surrounded by similar smaller octagons in shades of yellow with small cruciform motifs in ivory. Plaited fringing to ends.
Kuba sumac carpet, north east Caucasus, second half 19th century, 9ft. 8in. X 6ft. 7in. 2.94m. X 2.01m. Overall wear and corrosion with holes in places; tear/rip and missing piece to selvedge one end; losses to ends. Three large rectangular medallions in light blue and pale green on a terracotta field; pale yellow main border of stars within octagons; running dog outer guard.
Kazak(?) rug of Lesghi star design, south west Caucasus, early 20th century, 6ft. X 3ft. 3in. 1.83m. X 1m. Overall even wear; corrosion tro dark browns; slight loss to lower end. Light red field with three Lesghi stars in blue and pale gold with ivory and dark green details; small animals and other stars in the field; ivory leaf and calyx main border and light blue medallion guards. Soft handle. cf. Bennett, I. op. cit. pp. 326-328 where the Lesghi group is discussed at length.
Karabakh runner, south west Caucasus, early 20th century, 12ft. 6in. X 3ft. 8in. 3.80m. X 1.12m. Overall even wear with corrosion to dark brown; top end possibly re-woven. Dark brown field with all over flowering plants; inner terracotta guard of rosettes; ivory main border of winged boteh motifs in the Marasali style; inner striped guard; outer reciprocal dark brown and light blue medachyl border. Lustrous wool and soft handle. Cf Eiland, M. Merchants, Weavers and Kings, p. 156-157, pl. 45 for a rug with a similar field design but on a red ground.
Shirvan runner, south east Caucasus, late 19th century, 12ft. 3in. X 3ft. 11in. 3.73m. X 1.20m. Overall wear with corrosion to dark browns; crease marks in places; 'bite' to top right corner; slight loss to lower end. Dark brown field with ivory outlined stepped pole medallion with terracotta bar medallions each end; pale yellow main border of 'S' motifs; light rose inner medallion guard and pale blue medallion outer guard.
Two rugs, the first a modern Perepedil-design rug, Afghanistan, second half 20th century, 4ft. 7in. X 2ft. 11in. 1.40m. X 0.89m. Slight wear in places; with paint marks to one end. The second, Afshar, Kerman area, south east Persia, 5ft. 3in. X 3ft. 10in. 1.60m. X 1.17m. Overall heavy wear and fading. Light blue field with two medallions and trees to each side; ivory flowerhead main border; banded flatweave ends. (2)
Two rugs, the first: Luri gabbeh, Fars, south west Persia, circa 1950s, 4ft. 10in. x 3ft. 11in. 1.47m. x 1.20m. Small areas of old moth damage; minor losses to ends. Red field with dark blue centre medallion; bright green spandrels and frame; with flowering tree motifs; narrow ivory rosette main border. Robust handle. The second: Afshar rug, Kerman area, south east Persia, circa 1920s-30s, 4ft. 7in. X 3ft. 6in. 1.40m. X 1.07m. Slight wear in places; small spots of old moth damage; slight loss to flatweave ends. Dark blue field with centre light rose step-sided medallion, outlined in ivory, quarter medallions in each corner; ivory main border of linked foliage motifs; narrow running dog guards. Soft handle. (2)
Jones, Owen The Psalms of David [The Victoria Psalter]. 1861-2. Folio, full Relievo binding, sometime rebacked retaining elements of original spine; 104 chromolithograph pages (with signs of later restoration with later facsimile print of work and other restoration). idem Book of Common Prayer. John Murray, 1845. 8vo, full vellum, boards with broad ecclesiastical borders enclosing central gilt cross, spine lettered and decorated in gilt, inner gilt dentelles, blue endpapers, a.e.g.; with illuminated chromolithograph section titles, borders, vignettes, initials and ornaments by Jones, other illustrations, printed in various colours. First Owen Jones edition for Murray. Jones was a hugely influential designer, architect, artist and book publisher, who was a guiding influence on the later Arts and Crafts movement. He was one of the earliest producers of chromolithographs in Britain and a leading light in the development of colour theory. He is also intrinsically linked with the brief history of the relievo binding process through his ecclesiastical works. This style of binding was intended to evoke the heavy carved wood tracery and decoration of English churches and his Psalms, immensely popular in its day, was one of the last of this style produced. The BCP was a sumptuous expression of John Murray's experiments with colour and a critical success for its striking design. Alas, in common with so many critical successes it was a commercial failure, but today is considered amongst the most important of Jones' commercial works.Psalter sometime rebacked with loss, some cracking, rubbing and bumping to binding, internally restoration and some staining to early pages, variable dusty marking to rest, however still a striking and powerful book. BCP binding worn, wtih cracking to joints and dusty marking, internal evidence of water damage with some marginal staining, also foxing etc.
Mayall, John Jabez Edwin Series of Photographs of Eminent Men. Messrs Marion & Co., 152 Regent St., 1862. Seven albumen prints after photographs by Mayall, all flush mounted to captioned card mounts, five signed and dated 1861 in the negative, 6 in original paper wrappers printed with title details, all signed by subjects on the mount, all contained in likely original folio folder. The seven photographs comprise: Prince Albert, the Prince Consort - this photograph was taken two months before Albert's death from typhoid and is likely the last taken of him. After his death the picture was hugely popular, with 70,000 of the carte de visite ordered from Mayall. W.E. Gladstone; John Russell, 1st Earl Russell; Edward Smith Stanley, 14th Earl of Derby; Henry Brougham, 1st Baron Brougham and Vaux; John Singleton Copley, 1st Baron Lyndhurst; John Bright Mayall was a devoted believer in the photographer as artist. He used his background in chemical dye works to continually refine the process of Daguerreotypes. He was a pioneer of allegorical photographs and his work led him into a friendship with Turner, with whom he exchanged ideas on light and shadow. It was the Great Exhibition though which propelled him to the forefront of British photography. After this, his portrait work was in high demand and in 1860 he was called upon by the Royal Family. These pictures made his name and fortune, as he was granted the rights to sell the pictures as cartes de visite. The photograph of Albert comes from this period and was likely his most famous and desired print.
Anon The Hampstead Congress: or, the Happy Pair. Printed: And sold by M. Cooper, A. Dodd, and G. Woodfal, 1745. 8vo, half calf over marbled boards in a period style; pp. 23, blank; provenance: North Library (bookplate upper pastedown) -- J.O. Edwards (book label upper pastedown). First ed. A scarce item (we have only traced on copy at auction in 1997). This light-hearted poem traces an argument between newly-weds about where is best to live - town or country. The argument going nowhere, Sir John retires to his country seat, from whence the news is brought to his wife of his death from a broken heart. She races to his side and weeps, at which he ups with a start and they are re-affirm their love for each other, conveniently just after she has pledged to bow to his Will in all things, if only he will be restored to her... ESTC T35963; Foxon H30
A mid 20th century Cropp & Farr 9ct gold flower brooch composed of three flower heads in white and yellow gold, each set with a central pearl surrounded by six light blue sapphires, on a leaf stalk cluster tied with a ribbon in white gold and set with two diamonds, in a Mappin & Webb box, hallmarked Birmingham, date letter M, makers initials C & F, total weight 12.3g
Milton, John; Martin, John (illus.) Paradise Lost. Printed for Henry Washbourne, 1853. 4to, full coarse-grain plum leather gilt; 24 mezzotints by John Martin. Martin's mezzotints were first sold in stages to subscribers. Twenty-four were then selected to accompany the poem, originally in a two-volume edition in 1827. Mezzotints seem especially apt for Milton's work, with their emphasis on the contrast between dark and light. Typical of all artists, in imagining Milton's work, Martin has drawn on his own Romantic sentiments, The poem becomes an embodiment of the sublime. His figures disappear before the grandeur and the terror of the setting. Both Heaven and Hell are greater than those within them, eternal, magnificent and legitimately awe-inspiring.
Younghusband, Capt. F.E. The Heart of a Continent: A Narrative of Travels in Manchuria, across the Gobi Desert, through the Himalayas, the Pamirs, and Chitral, 1884-1894. John Murray, 1896. 8vo, green cloth; 18 plates, 4 folding maps (one loose in rear pocket). First ed. idem India and Tibet. John Murray, 1910. 8vo (in 2 vols). Cloth-backed boards; 26 plates, 2 coloured maps folded to throw clear. First ed. idem; Molyneux, Maj. E. (illus.) Kashmir. A & C Black, 1911. 8vo, org. decorative cloth; 70 colour plates, map and loosely inserted advert for Menpes India. Reprint. With The Queen's Commission (1891, 2nd ed.); Wonders of the Himalaya (1924, 1st ed.); and The Light of Experience (1927, 1st ed.) [7]
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