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Preisdatenbank abonnieren19TH CENTURY ENGLISH SCHOOL; oil on canvas, portrait of Margaret Gilchrist holding a basket of grapes, unsigned, 56 x 34cm, framed and glazed.Additional InformationImage with a craquelure throughout and lightly grubby, frame with some repainting and some chip and losses, the portrait may not be original to the frame.
MANNER OF EDWARD JOHN GREGORY; oil on artist's board, portrait of a maiden, signed lower left and dated 1877, 41.5cm x 34cm, framed.Additional InformationLightly grubby throughout with light wear to the paint above the left shoulder of the sitter, some light scuffs to the varnish going along the neckline and to the left of the painting. Some scratches along the bottom edge and other minor paint cracks. Frame with some marks and small nicks.
CIRCLE OF GORTZIUS GELDORP (Flemish, 1553-1618); oil on panel, double portrait of noble sisters, inscribed '**ASV SVA/FV M/ ANNO 1613/55', 49 x 63.5cm, framed. Provenance: private collection, UK. Purchased from Messrs Freeman's Fine American European Paintings & Sculpture Auction, no.1354, December 6th 2009, lot 4.
PAM GLEW (born 1978); a limited edition portrait on pine panel, the portrait in printed sections of white with gilt teardrops to the left hand side, signed and dated '09 version, numbered 2/2, and indistinctly signed, 16.5 x 28.5cm, unframed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
HAROLD FRANCIS RILEY BL.D. Litt. FRCS (Hon) DFA ATC (born 1943); pastel, portrait of a lady in a blue jumper, signed and dated 66, 46cm x 36cm, framed and glazed. (D)Additional InformationImage in good condition. Frame with some wear and small chips.This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
VIRGINIA COOPER; a group of three pencil portrait studies, each signed with initials and dated '98, 16 x 11cm, and a further study by the same artist, 34 x 40cm, all framed and glazed (4). (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
ARTHUR BERRY (1925-1994); mixed media, portrait of a male figure wearing a shirt and tie, signed and inscribed '08 top left, 70 x 45cm, framed and glazed. (D)Additional InformationThere is a scratch to the image across the throat of the figure. Light scratches and scuffs to the frame.This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
ADVERTISING; a collection of seven vintage advertising easel and hanging shop signs, comprising Player's Please, Turf Tobacco, Cafe au Lait, Felt Hatters & Trimmers' Unions, Chattwood’s milliners and fancy drapers, two Coca-Cola metal portrait signs and a Little Hollanders panel (7).PROVENANCE: The Collection of Jack Tempest. Additional InformationPLEASE NOTE - The Little Hollanders lid is not part of this lot, It is part of lot 154.
17th century English school."Portrait of Lady Anne O'Brien".Oil on canvas. Re-coloured.With inscription in the lower right corner.Frame with slight faults.Size: 105 x 85 cm; 138 x 118 cm (frame).In this canvas the painter offers us the portrait of a young lady of beautiful features and elegant position, dressed in the English fashion of the 17th century. The inscription in the lower right-hand corner indicates that she is Lady Anne O'Brien, the fourth daughter of Henry O'Brien, the fifth Earl Thomond, a descendant of an important Irish Gaelic dynasty, who in turn descended from Brian Boru (an important medieval king of Ireland). Anne, the protagonist of our play, married the seventh Earl of Thomond, also known as Sir Henry O'Brien, and died in 1645. She wears a voluptuous dress decorated with puffed sleeves and a straight, period neckline. Around her delicate neck she wears a pearl necklace to match her earrings. With her left hand she makes a peculiar gesture, with her index finger and thumb stretched out, pointing to something that could be outside the room in which she is depicted, far from the viewer's sight. This gesture can also be related to the figure of her husband, as it could point to the portrait of Sir Henry O'Brien, which may have been painted to form a pair with the present one. On a formal level, it is worth mentioning how the figure is strongly illuminated, standing out against a neutral background that suggests the walls of a fortification and allows us to glimpse a landscape, something very much in keeping with the English fashion of the time. The brushstroke used by the artist changes, being much more precise, practically invisible, on the woman's face, hair and bust, but looser on the dress and background. Due to the technical and formal characteristics mentioned above, this is a work close to the circle of Pieter Van del Faes Lely (1618-1680), an English portraitist clearly influenced by Anton Van Dyck. The son of a Dutch father, Lely studied in Haarlem. In 1641 he decided to move to London, where he imbibed English taste. He specialised in portraiture and was appointed painter to the court of Charles I. Museums such as those in London and Dublin, and collectors at Hampton Court and Windsor own works by this well-known artist.In the 18th century the European portrait scene was varied and wide-ranging, with numerous influences and largely determined by the tastes of both the clientele and the painter himself. However, this century saw the birth of a new concept of portraiture that would evolve throughout the century and unify all the national schools: the desire to capture the personality and character of the human being, beyond his external reality and social rank, in effigy. During the previous century, portraiture had become established among the upper classes and was no longer reserved solely for the court. For this reason, as the 17th and even more so in the 18th century, the formulas of the genre became more relaxed and moved away from the ostentatious and symbolic official representations typical of the Baroque apparatus. On the other hand, the 18th century reacted against the rigid etiquette of the previous century with a more human and individual conception of life, and this was reflected in all areas, from furniture, which became smaller and more comfortable, replacing the large gilded and carved pieces of furniture, to the portrait itself, which came to dispense with all scenographic elements in order to depict the individual rather than the personage.
MARÍA GUADALUPE DE MONCADA Y BERRIO (Puebla, 1772- Mexico City 1840)."Self-portrait".Oil on canvas. Re-coloured.It presents repainting and restorations on the pictorial surface.It has a label of the Museum of San Carlos on the back.It conserves frame of the XIX century, c. 1850 in stuccoed and gilded way.Measurements: 82.5 x 61 cm; 100 x 79 cm (frame).The soft brushstrokes and the subtlety of the chromatic gradation make up this female portrait, where an ethereal and sinuous finish can be appreciated, revealing a hand of great technical knowledge and plastic skill. It is not surprising that this piece was formerly interpreted as a work by the master Francisco de Goya y Lucientes, not only because of the artistic quality of the workmanship, already mentioned, but also because of the aesthetics and the way in which the figure of the sitter is treated. In fact, the composition and the model are similar to many of the female portraits by the Fuendetodos painter. Although in this case the work only depicts the bust of the young lady, dressed in elegant ornate clothing, Goya's influence goes beyond the technical treatment and also extends to the subject matter. The work goes beyond the portrait, showing the viewer the artist's interest in revealing her work as a painter, as she holds her palette and brush in her hands. This theme of the woman artist was also dealt with by Goya, in his painting of the 12th Marquise of Villafranca painting her husband, now in the collection of the Prado Museum in Madrid. However, the work of the painter is intensified in this work, separating the protagonist from her husband and achieving her own independent recognition, showing herself to the viewer with the attributes that define her person, to which is added the presence of a sculpture, which denotes the academic and cultural training of the protagonist.María Guadalupe de Moncada y Berrio, the author and subject of this portrait, was the first woman to gain entry to the Royal Academy of the Three Noble Arts of San Carlos in New Spain. She was later made an Academician of Honour and Merit and Honorary Director in the field of painting. A post that was overshadowed by hurtful comments, which claimed that the post had been promoted by María Guadalupe de Moncada's husband, the Marquis of San Román. However, despite the artist's scant known oeuvre, her works reveal a technical exceptionality that can be admired in this self-portrait.
A Cased .650 (16-Bore) Percussion D.B. Sporting Rifle By J. Purdey, 314½ Oxford Street, London, No. 2489 For 1833With rebrowned twist sighted barrels signed in full along the rib, each rifled with ten spiral grooves, and leaf-sighted from '70' to '150' yards, each leaf with central platinum line, border engraved breeches each with short platinum line and pierced platinum plug, and engraved with a symmetrical foliate motif on the flat between, tang engraved with symmetrical foliate scrollwork and with a tiger's mask on the sighting flat, signed engraved serial numbered detented flat locks each retaining traces of case-hardening and decorated with foliate scrollwork and a stag in a landscape, dolphin hammers with foliate scrollwork en suite and engraved safety-catch, the mechanisms retaining their burnished finish, highly figured half-stock with cheek-piece, chequered grip and fore-end, border engraved steel mounts comprising butt-plate very unusually dated '1833' and decorated with a stag's head and scrolling foliage on the heel tang, serial numbered trigger-guard with chequered spur and decorated on the bow with a running stag in a landscape between borders of ropework, trigger-plate with a scallop shell above a flower-head on the pointed finial, and hinged circular patch-box cover decorated with a landscape scene depicting Lord Ossulston shooting a Chillingham bull from horseback, all within a border of ropework, border engraved barrel-bolt escutcheons, chequered forward trigger, sling button engraved with foliage, and original brass-mounted ramrod: in its fitted and partly relined mahogany case (compartment box and lid replaced) with accessories including G. & J.W. Hawksley brass-mounted powder-flask with bag-shaped planished tin body, and retaining most of its lacquered finish, steel bullet mould and sprue-cutter, and bullet-starter with leather-faced mallet-head (chipped), the interior of the lid with maker's trade label, the exterior (some old scratching) with circular vacant escutcheon centred on a flush-fitting circular brass carrying handle, London proof marks and Purdey's barrelsmith's mark 75 cm. barrels Footnotes:LiteratureUnsworth, p. 149. Recorded as sold on 27 July 1833 for £73.10.0. Unsworth notes 'The first rifle to have Purdey's upright style of hammers'. Built for Lord Ossulston (see footnote to lot 93)Dallas, p. 191The scene on the patch-box cover is immortalised in the portrait entitled 'Scene in Chillingham Park: Portrait of Lord Ossulston' or 'Death of the Wild Bull', by Sir Edwin Landseer and probably commissioned by Charles Augustus, 5th Earl of Tankerville. The portrait was exhibited at the Royal Academy in 1836, and was last sold at Christie's in 2003 for £1,272,000 including premiumLord Ossulston appears to have met Landseer for the first time at Glenfeshie, in the Scottish Highlands, where Landseer was staying with his close friends the Duke and Duchess of Bedford. In his essay, The Chillingham Wild Cattle, Reminiscences Of Life In The Highlands, published in 1891, Lord Ossulston described the amusing circumstances of his first encounter with the artist. Lord Ossulston, who had just arrived from staying with the Duke of Atholl at Blair Atholl to stay with his friend Horatio Ross, on the other side of Glenfeshie, had set out in the morning to go stalking in the company of the forester Charlie Mackintosh. They had just spotted a large herd of hinds and a big stag grazing near a burn beneath them when they heard the crack of a rifle shot which scared away the herd and felled the stag. Thinking this was likely to be the work of a poacher they set off to see who was responsible: 'Upon this we dived into a hollow close to our right that took us down to the burn and crawling under its banks we soon ensconced ourselves behind the heathery knoll within a few yards of our poacher, to watch his proceedings before we finally pounced upon him. He was a little, strongly built man, very like a pocket Hercules or Puck in the ''Midsummer Night's Dream''. He was busily employed in gralloching his deer. This he did with great quickness and dexterity... He next let the head hang over, so as to display the horns, and then squatting down on the stone opposite, took out of his pocket what I thought would be his pipe or whisky flask; but it is a sketch book! Seeing that we had mistaken our man, I came out into the open, and then found myself face to face with my friend of many years to come - Landseer.'According to Ossulston's account, a few days after having met Landseer, and having spent much time together in the company of the Duke and Duchess of Bedford and their house party, he left Glenfeshie together with him to go to Chillingham. At Chillingham he recalled that Landseer 'at once devoted himself to the wild cattle as keenly as he had done to his beloved deer observing them with his glass for days from some hiding place, and noting minutely their ways and characteristics'.Lord Ossulston evidently soon decided that Landseer should have the opportunity to take a closer look at the cattle and a decision was taken to shoot one of the bulls to make this possible. As it was considered 'ignoble' to kill such a bull by a 'pot shot' a more sporting plan was hatched to chase a bull out of the herd on horseback and thereby to bring him to bay. This, however, could not be done in the upper park at Chillingham, where the woods, bogs, and ravines provided unsuitable ground for horses, so it was decided to first separate the selected bull from the herd in the lower park, which provided open space much more suitable for horses. The lower park and the upper park were separated from each other by a fence and advantage was taken of the fact that at night the gates between them were left open and the herd allowed to graze freely in the lower park. A keeper was placed in ambush beside a gate, which was to be shut on one of the bulls after the main herd had returned to the upper park in the early morning. Unfortunately the plan went badly wrong and the bull charged and tossed one of Lord Tankerville's keepers breaking four of his ribs and piercing his chest with its horn. The keeper was only saved by the prompt action of Ossulstons's deerhound, Bran which held the bull off the keeper's body. Ossulston recorded that the keeper called Barnes, survived his wounds and lived to be eighty, but that the bull was forthwith shot and together with Bran and the other personages concerned, was the subject of Landseer's picture of the ''Dead Bull''.Landseer's monumental composition is dominated by the handsome and aristocratic figure of the young Lord Ossulston, standing beside his pony Hotspur, with a rifle in his left hand, his right foot resting on the majestic Chillingham bull lying at his feet. Ossulston looks towards his deerhound, Bran, who has proved the hero of the occasion. Lord Ossulston's head keeper Coles, kneels beside the dead bull, to the left of the composition, with his arm around his master's deerhound, looking at the lifeless bull. A bloodhound beyond the head keeper imitates his master by putting his paw on the dead bull, while the right hand side of the composition is closed off by another bloodhound with a weary gaze.For further information on this lot please visit Bonhams.com
Guiseppe GIROMETTI, 1780-1851, museale Kamee-Brosche, Italien, Rom 1. Hälfte 19. Jh.Erhabene Achat-Kamee in bräunlich-grau- beiger Marmorisierung. Maße ca. 8,8 mm x 3,4 mm. Höhe ca. 13,3 mm.Seitliche Portrait-Darstellung der Antike. Am rechten Rand signiert Girometti (Guiseppe Girometti 1780-1851). Breiter, leicht gewölbter, wohl 750/- gelbgoldener Fassungsrand mit fein graviertem und zisiliertem Ornament- und Floraldekor. Reste alter polychromer Emaille-Konturen.Maße der Brosche ca. 51,3 x 45 mm. Höhe ca.18 mm.Neuzeitlicher Kugelhakenverschluss und Sicherheitskette.
Brosche mit Kamee, um 1900.585/- Gelbgold. Gesamtgewicht ca. 9 g. Hochoval. Seitliches Portrait einer jungen Frau der Antike aus einer Muschel geschnitten. Schmaler Fassungsrand mit aufgelöteter Kordelrandverzierung.Maße ca. 35,5 x 29,8 mm. Höhe ca. 7,9 mm.Am neuzeitlichen Kugelhaken restauriert.
Damenbildnis-Miniatur um 1800.Öl/Bein. Portrait einer jungen Dame im grünen Kleid und Hochsteckfrisur. Quadratischer Rahmen aus ebonisiertem Holz. Runder, konkaver Bildausschnitt gerahmt unter Glas mit Metallrahmen. In altersbedingter guter Erhaltung. Rückseitige Papierabdeckung fehlt. Maße ca. 13,7cm x 13,7cm.Gewicht ca. 148 g.
Herrenbildnis-Miniatur, 1812.Öl/Bein. Portrait eines jungen Offiziers. Holzrahmen unter Glas. Schauseite des Rahmen aus goldenem Metall. Am rechten Rand unten signiert und datiert, Reinhard 1812. Links durchgehender vertikaler Riss, links mittig ein ca. 4,5cm langer Riss. Mehrere altersbedingte Abreibungen auf dem Rahmen. Rückseitige Papierabdeckung löst sich. Maße ca. 11,8 cm x 12,5 cm.
Halbrelief einer Herrenbildnis-Miniatur, Biedermeier.Keramik. Halbrelief Portrait eines nach links schauenden Herren aus lachsfarbener Keramik, auf einem schwarzen Tuch appliziert mit blasser, goldener Umrandung. Unter Glas im ebonisierten Holzrahmen, am Sockel des Portraits monogrammiert "W-H". Maße ca. 12,7 cm x 17,5 cm.
Herrenbildnis-Miniatur, Biedermeier.Öl/Bein. Portrait eines jungen eleganten Herren. Ebonisierter Holzrahmen. Konkaver Bildausschnitt gerahmt unter Glas mit Metallrahmen. Minimale altersbedingte Abreibungen auf dem Rahmen. Bildausschnitt Maße ca. 6,4 cm x 8,5 cm. Rahmenmaße ca, 15,8 x 17,3 cm.
Damenbildnis-Miniatur, Biedermeier.Öl/Holz. Portrait einer jungen Dame im weißen Kleid mit kurzem welligen Haar. Goldfarbener rechteckiger Holzrahmen. Craquelé auf der Bildoberfläche. Minimale altersbedingte Farbabplatzungen und Fehlstellen auf dem Rahmen. Rahmen wohl nicht dazu gehörig. Bildausschnitt Maße ca. 14,5 cm x 18,5 cm. Rahmenmaße ca., 19 x 23,5 cm.
Unbekannter Künstler, 18.Jh.Öl auf Leinwand, doubliert auf Hartpappe. Seitenansicht Portrait "Friedrich der Große" (1712-1786). Restauriert. Altersbedingte Blasenbildung durch Lösen der Leinwand. Craquelé. Minimale Farbabplatzungen. Profilierter Rahmen mit reliefiertem Kreuzbandmuster. Risse und Bruchstellen am Rahmen. Unsigniert. Bildmaße ca. 23,5 x 30 cm. Rahmenmaße: ca. 34,5 x 41 cm.Gewicht ca. 1,3 kg.
BURNS (ROBERT)Poems, Chiefly in the Scottish Dialect, second (first Edinburgh) edition, with 'skinking' at p.263, and 'Boxburgh' rather than 'Roxburgh' in the list of subscribers AUTOGRAPH ADDRESS PANEL IN THE HAND OF ROBERT BURNS, TO GEORGE THOMSON tipped onto stub between title and dedication leaf, half-title, engraved portrait by I. Beugo after A. Nasmyth, calf gilt by Riviere (with stamp on front free endpaper), g.e., rebacked retaining original spine elaborately tooled in 6 compartments (4 with thistle motif; 2 with morocco lettering labels), slightly rubbed at extremities [Egers 2; Rothschild 556], 8vo, Edinburgh, for the Author, by W. Creech, 1787Footnotes:Includes a manuscript address leaf written by Burns to 'Mr. George Thomson, Trustees Office, Edin.' and 'Robin Adair' vertically on fold. It is annotated ('ans.d'), and with numeral 'No. 20' (struck through in ink) in a different hand. On the flaps are stamped 'Au[gust] 14' in red ink, and 'Dumfries' in black. George Thomson (1757–1851) was a friend of Burns, Clerk to the Board of Trustees for Encouragement of Art and Manufacture in Scotland, and edited A Select Collection of Original Scottish Airs, the first volume (1793) of which included twenty-five poems by Burns himself. Burns and Thompson were regular correspondents. It is probable that our envelope would have enclosed a version of one the poems that Burns set to the tune of 'Robin Adair' and sent to Thompson for comment. In August 1793 he sent two - 'Had I a Cave', and ' Phyllis the Fair', both of which met with the recipient's approval. For another address panel addressed by Burns to Thompson see the Burns Scotland website. Provenance: William F. Gable (1856-1921, American collector), 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
EDWARDS OF HALIFAX - BINDING AND FORE-EDGE PAINTINGWATSON (JOHN) The History and Antiquities of the Parish of Halifax, in Yorkshire, engraved portrait frontispiece, 9 engraved plates and plans, some spotting, contemporary 'Etruscan-style' calf gilt with ornamental side panels, spine with 5 oval inlays depicting a vase ornament, g.e., with FORE-EDGE PAINTING OF FURNESS ABBEY, the binding and painting attributed to Edwards of Halifax, upper joint neatly repaired, rubbed, 4to, T. Lowndes, 1775Footnotes:Provenance: Charles Delaet, Esq. of Potterells, Herts, from whom purchased by Coningsby C. Sibthorp (1889), printed label inside upper cover; Sotheby's sale, 29 April 1920, lot 18, catalogue entry loosely inserted; Messrs. Ellis, note of sale for £40, 8 May 1920 loosely inserted. Sold with a copy of 'Edwards of Halifax.' From the Transactions of the Halifax Antiquarian Society, 1912, which includes 2 plates depicting another copy of Watson bound and illustrated with fore-edge painting by Edwards of Halifax.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
[SANDYS (EDWIN)]Europae Speculum. Or, a View or Survey of the State of Religion in the Westerne Parts of the World, woodcut ornament on title, eighteenth century annotations on front blank and index on final blank, old ink price ('Pre. £0-s.1-p.0') at head of title, later pencil annotations, early limp vellum [ESTC S116680], small 4to, The Hague [Printed for Michael Sparke], 1629--[GAUDEN (JOHN)] Eikon basilike [in Greek]. The Pourtraicture of His Sacred Majestie in His Solitudes and Sufferings, title within typographical border (trimmed as are approximately 6 or 7 headlines), lacks plates and 2 leaves at end, nineteenth century red morocco, original seventeenth century side-panels (gilt stamped with Charles initials beneath portrait and crown) preserved inside upper covers, gauffered gilt edges [ESTC R41948], Reprinted, R.M. 1648--[HAER (FLORIS VAN)] Antiquitatum liturgicarum Arcana, engraved pictorial title, author's name added in ink to title, contemporary blind-stamped white pigskin, original clasps and catches, Douai, B. Beller, 1605, 8vo (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
SHAKESPEARE (WILLIAM)The Plays, 8 vol., volume titles and individual play titles with wood-engraved vignettes, some foxing, contemporary diced calf, spines in compartments, 4 with ornate gilt tooling, the other 3 gilt lettered, some wear to spine ends and one or two bands, volume 4 with joints cracking, 8vo, T. Bensley for Wynne & Scholey, and J. Wallis, 1803; The Plays, 10 vol., engraved portrait, volume titles and title to each individual play with wood-engraved vignette, contemporary panelled calf, sides with outer double gilt rule border, inner dotted border and central elongated hexagonal panel, gilt panelled spine with black morocco labels, spines with some polished surface cracks and wear at top, 8vo, T. Bensley for James Wallis, 1805 (18)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
BINDING - NELSONCLARKE (JAMES STAINER) and JOHN M'ARTHUR. The Life of Admiral Lord Nelson, K. B. From His Lordship's Manuscripts, 2 vol., FIRST EDITION, engraved portrait, plates, plans and vignettes, some foxing and browning, specially bound presentation copy in contemporary dark blue straight-grained pannelled morocco gilt by the Comte de Caumont, with volume 1 stamped in gilt 'Ex munificentia et amicitia auctoris' on gilt decorated thick endpapers, and his binder's ticket verso of on front free endpaper, sides with floral outer cornerpieces, and ornate gilt tooled borders and inner cornerpieces with anchor motifs on light brown leather onlays, gilt panelled spines with ship motifs in 2 panels and lettered in others, raised bands with gilt tooling, g.e. and turn-ins, large 4to (342 x 275mm.), T. Bensley... for T. Cadell and W. Davies... and W. Miller, 1809Footnotes:PRESENTATION COPY OF 'THE LIFE OF NELSON', FINELY BOUND BY THE COMTE DE CAUMONT.Auguste Marie Comte de Caumont (1743-1839) fled France in 1796, setting up as a bookbinder in London soon after. He seems to have had no previous experience and limited himself to managing the workshop and looking after the accounts, but he acquired a considerable reputation at the time and employed up to five finishers, including the well-known bookbinders Cordeval and Kalthoeber. The workshop is recorded at three known addresses in Soho, the last being 1 Frith Street (the address on our ticket) from 1803 to 1814, after which he returned to Paris with Louis XVIII For other examples of De Caumont bindings, see Maggs Catalogue 1212, Part II, no. 186, and Howard M. Nixon, British Bookbindings Presented by Kenneth H. Oldaker to the Chapter Library of Westminster Abbey, Maggs, 1982, no. 30.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
HARRIS (JOHNA)The History of Kent. In Five Parts, vol. 1 [all published], FIRST EDITION, SUBSCRIBER'S COPY, engraved portrait, large folding map and 42 plates, mostly double-page or folding bird's-eye views by Kip and Harris after Badeslade, letterpress list of subscribers, pp.1-8 misbound, later calf gilt, spine elaborately tooled in compartments with red morocco lettering label, covers and extremities of spine rubbed, folio (455 x 280mm.), D. Midwinter, 1719Footnotes:Provenance: George Sawyer, of Charing, large ownership signature ('G. Sawyer A.D. 1719') cut out and pasted to inside upper cover. Sawyer is listed as a subscriber.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
ORME (EDWARD) AND FRANCIS WILLIAM BLAGDONOrme's Graphic History of the Life, Exploits, and Death of Lord Horatio Nelson, FIRST EDITION, engraved frontispiece portrait, 5 hand-coloured aqutint plates (3 double-page), one engraved facsimile plate of Nelson's writing, 6 aquatint illustrations (one hand-coloured), 2 engraved vignettes, contemporary half morocco over marbled boards, printed label on upper cover, rubbed [Abbey Life 327] Edward Orme, [1806, watermarks 'J. Whatman 1804']--ORME (EDWARD) Graphic Illustrations of the Defeat of Bonaparte and his Armies: Commencing with his Retreat from Moscow; and Ending at the Battle of Leipzig, letterpress title, 8 hand-coloured aquatint plates by M. Dubourg after Atkinson, a few light spots and smudges (mostly marginal), contemporary half morocco, upper cover detached, worn [Abbey Life 375], Edward Orme, 1814 [watermarks 'J. Whatman 18011-1813]--BOWYER (EDWARD) The Campaign of Waterloo, Illustrated with Engravings of Les Quatre Bras, La Belle Alliance..., 6 views on 4 hand-coloured aquatint plates (one double-page), one engraved map, without the 2 engraved plates, contemporary half calf, worn [Abbey Life 255], R. Boywer, 1816 [watermarks 'J. Whatman 1816']; An Impartial Historical Narrative of those Momentous Events Which Have Taken Place in this Country during the Period from the Year 1816 to 1823, 3 hand-coloured aquatint plates, 5 engraved plates, engraved plates with some spotting/light stains and fraying to edges, contents loose in publisher's boards, printed label on upper cover (with ink note 'Proof'), covers detached, lacks spine [Abbey], R. Bowyer, 1823, folio (4)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
COOKERYCOOKE (JOHN CONRADE) Cookery and Confectionary, FIRST EDITION, additional engraved title and 14 plates, light spotting and toning, ownership inscription of E. Morgan on front free endpaper, original boards, printed spine label, worn with some loss to spine and label [Bitting, p.98; Oxford, p.154; Simon BG 385], Simpkin, Marshall, 1824--LA CHAPELLE (VINCENT) The Modern Cook: Containing, Instructions for Preparing and Ordering Public Entertainments for the Tables of Princes, Ambassadors, Noblemen and Magistrates... Third Edition, 6 folding engraved plates showing table settings, title laid down, one leaf of contents (pp.xii-xiv) defective, contemporary calf, rebacked preserving most of original spine, corners restored [ESTC T146735; Mclean, p.85; cf. Oxford, p.63, 'a most excellent and well-arranged book, though some of the recipes are strange'], Thomas Osborne, 1744--HUDSON (Mrs) AND MRS. DONAT. The New Practice of Cookery, Pastry, Baking and Perserving: Being the Country Housewife's Best Friend. By Mrs. Hudson & Mrs. Donat, Present and Late Housekeeper and Cooks to Mrs. Buchan Hepburn of Smeaton, FIRST EDITION, with errata at end, some soiling and spotting, contemporary calf, neatly rebacked preserving most of spine and red gilt morocco label [Oxford, p.134], Edinburgh, J.Moir, 1804--FRAZER (Mrs., 'Teacher of These Arts in Edinburgh') The Practice of Cookery, Pastry, Confectionary... Third Edition, Improved and Enlarged, 2 engraved plates (toned with some small stains, small piece torn away from blank margin of each), some spotting throughout, contemporary calf, rebacked [cf. Oxford, p.120], Edinburgh, Peter Hill, 1800--WALLACE (JAMES, 'Late of Philadelphia') The Confectioner's Guide, and Ladies' and Housekeeper's Instructor, additional engraved portrait frontispiece of 'L.E. Ude, the Celebrated French Cook' (published by E. Bryant, 1828), publisher's printed boards, rebacked, sides soiled with heavy abrasions, Joseph Smith, 1828, 8vo and 12mo (5)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
BOULLAYE-LE-GOUZ (FRANCOIS DE)Les voyages, FIRST EDITION, woodcut frontispiece portrait of the author, engraved portrait illustration of the author, woodcut illustrations throughout the text (many full-page), tear neatly repaired to frontispiece and pp. 191-2, slight damp-staining, later calf gilt, minor wear [Atabey 645], 4to (203 x 107mm.), Paris, François Clousier, 1653Footnotes:Provenance: P. Brunet, early ownership inscription on 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
BRUYN (CORNELIS DE)Voyage Au Levant, c'est-a-dire, dans les principaux endroits de l'Asie Mineure, dans les Isles de Chio, Rhodes, Chypre, &c., 5 vol., engraved portrait of the author on frontispiece of volume I, title pages in red and black, 5 engraved folding maps, 85 engraved plates (12 of which folding), previous ownership inscription in volume 1 covered with paper, inscription on flyleaf of volume 2, inscription on loose paper in volume 2, some offsetting, age-toning, damp-staining and spotting, minor worming, five lower right corners torn not affecting text, contemporary calf, spines in six compartments with raised bands, gilt decoration and title label, some shelf-wear to covers, corners slightly bumped, wear to extremities of spines, 4to, Paris and Rouen, Jean-Baptiste-Claude Bauche and Charles Ferrand, 1725This 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
BUNTING (HEINRICH)Itinerarum Sacrae Scripture oder Reise Buch uber die ganze Heil, 3 parts in 1 vol., general title printed in red and black, titles for each section, 10 engraved plates (some folding), lacking portrait, half calf, gilt label to spine, rubbed, folio (303 x 201mm.) Magdeburg, John Daniel Mullern, 1718--GOUJON (JACQUES R.P.) Histoire et voyage de la Terre-sainte, 19 folding engraved plates, library stamp on title-page, some loss of text to final 4 leaves, spotting throughout, contemporary calf, worn, some loss to spine, 4to, Lyon, Pierre Compagnon & Robert Taillandier, 1671--ARVIEUX (LAURENT D') Voyage dans la Palestine, engraved frontispiece, title printed in red and black with engraved device, 7 engraved plates (4 folding), contemporary calf, rubbed, 12mo, Amsterdam, Steenhouwer & Uytwerf, 1718 (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
MACHIAVELLI (NICCOLO)L'Asino d'oro... con tutte l'altre sue operette, 3 parts in 1 vol., woodcut on 3 titles, eigtheenth century polished calf gilt, hinges starting [ESTC S108298; Adams M11], 12mo, Rome [but London, John Wolfe], [1588]; Tutte le Opere, 5 parts in 1 vol., later Testina edition, vignette woodcut portrait on each title, browning and spotting, seventeenth century calf, rebacked, minor abrasions [EDIT16 CNCE64610; Bertelli 207], 4to, 1550 [but 1629]; Historie, printer's device on title, one double-page illustration, small hole in blank outer margin of title and following leaf, light spotting, nineteenth century quarter morocco gilt [Adams M30; Bertelli 106], 12mo, Venice, Domenico Giglio, 1554; La Mandragola Commedia, LIMITED TO 120 COPIES 7 full-page lithographed illustrations, publisher's paper boards, 4to, Verona, Cento Amici Del Libro, 1957--GERBER (ADOLPH) Niccolò Machiavelli. 147 Faksimiles zur Illustration der Handschriften, Ausgaben und Übersetzungen seiner Werke im 16. und 17. Jahrhundert, publisher's red cloth, 4to,, Munich, Meisenbach Riffarth, [1904]--BERTELLI (SERGIO) AND PIERO INNOCENTI Bibliographia Machiavelliana, publisher's cloth gilt, 4to, Verona, Valdonega, 1979 (6)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
MACHIAVELLI (NICCOLO)Tutte le Opere, 5 parts in 1 vol., second Testina edition, general title and all but one of the parts titles with woodcut portrait of Machiavelli, one double-page illustration, copious pencil marginal annotations, occasional light spotting, seventeenth century vellum tooled with black floral motifs on covers and spine, manuscript title on spine, joints splitting [Adams M7], 4to, [?Geneva], 1550 [but 1620]; Il Principe di N.M. al magnifico Lorenzo Piero, Testina edition with woodcut portrait of the author on the title, occasional damp-staining and spotting, nineteenth century blue wrappers, worn, 4to, 1550 [but seventeenth century]; De Republica, quas Discursus nuncupavit, Libri III, second issue of the first Latin edition [Adams M22; Bertelli 72], Mompelgart, J. Foillet, 1591; Nicolai Machiavelli Princeps. Ex Sylvestri Telii Fulgiratis traductione diligenter emendate, third Latin edition, woodcut portrait of the author on the last leaf [Adams M49; Bertelli 186], [Basel?], 1589 2 works bound in 1 vol., occasional early ink marginal annotations, light damp-staining, contemporary vellum, blindstamped initials 'H.M.S' on upper cover, manuscript title on spine, slightly soiled, 12mo; Nicolai Machiavelli Princeps. Ex Sylvestri Telii Fulgiratis traductione diligenter emendate; Vindiciae contra Tyrannos sive de Principis in populum, 2 works in 1 vol., third Latin edition, woodcut portrait of author on last leaf, later vellum-backed wrappers, title inked on spine, worn [Adams M49; Bertelli 186], 12mo, [Basel?], 1589 (4)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
MACHIAVELLI (NICCOLO)Tutte le opere, 5 parts in 1 vol., late Testina edition, vignette woodcut portrait on each title, one double-page illustration, soiling to first title and small tear affecting text, minor spotting, contemporary calf gilt, some wear [Adams M10], 4to, 1550 [but 1629]; Discours de l'estat de paix et de guerre, 3 parts in 1 vol., each with separate title (engraved vignette on the first), 2 folding plates, minor toning, later half calf gilt, minor wear, 4to, Paris, Toussainct Quinet, 1634; Le Prince de Nicolas Machiavel... traduit & commente par A.N. Amelot, engraved frontispiece, some spotting, contemporary calf gilt, hinges starting, minor wear, 12mo, Amsterdam, Henry Wetstein, 1684; Histoire de Florence, 2 vol., vignette on title, minor spotting early calf gilt, some wear, 12mo, Amsterdam, H. Desbordes, 1694--[FRIEDRICH II] Examen du Prince de Machiavel avec des notes historiques & olitiques, 2 vol. in 1, third edition, half-title, engraved titles printed in red and black with old ownership inscription, contemporary vellum, 8vo, The Hague, Jean Van Duren, 1741 (6)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
MACHIAVELLI (NICCOLO)The Florentine History in VIII Books Now Exactly translated from the Italian, second English edition, engraved frontispiece with portrait of the author, light age-toning, contemporary calf, rebacked, minor wear [ESTC R22284], 8vo, Charles Harper and John Amery, 1647; The Works, third English edition, title to each section, historiated initials, spotting, bookplate of Richard Jones (1707), contemporary panelled calf gilt and tooled, spine in compartments, hinges starting, worn, folio, T.W. for A. Churchill, R. Bonwick, T. Goodwin, 1720 (2)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
SHAW (THOMAS)Travels or Observations Relating to Several Parts of Barbary and the Levant, FIRST EDITION, title printed in red and black with printer's device, 6 folding engraved maps, 29 engraved plates (some double-sided and double-page), one engraved plate of music, numerous wood-engraved illustrations in the text, occasional spotting, endpapers loose, near contemporary calf, very worn [ESTC T114690; Blackmer 1533], folio (304 x 203mm.), Oxford, at the Theatre, 1738--DU MONT (JEAN) A New Voyage to the Levant: Containing an Account of the Most Remarkable Curiosities in Germany, France, Italy, Malta, and Turkey, first English edition, engraved frontispiece, 8 engraved folding plates, ownership inscription of C. Morris on title, upper margin shaved, later marbled calf, rebacked [ESTC R9818], 8vo, Thomas Hodgkin, for M. Gillyflower, 1696--BOUCHER (JEAN) Le bouquet sacre compose des plus belles fleures de la Terre saincte, wood-cut portrait of the author on frontispiece (laid down), engraved title, later vellum, minor wear, 8vo, Caen, Jacques Mangeant, 1621; and 2 others (6)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
LUCINI (ANTONIO FRANCESCO)Disegni della guerra, assedio et assalti dati dall'armata Turchesa all'isola di Malta l'anno MDLXV, FIRST EDITION, 16 engraved plates (platemark 440 x 350mm.), comprising title-page, plate with 56 portrait medallions, and 14 full-page military plates, small hole to title-page just touching one letter, laid down on heavy paper, nineteenth century green half morocco, gilt lettering to spine, t.e.g., minor wear to extremities [Atabey 734; Cicognara 2061], oblong folio (520 x 420mm.), Bologna, 1631Footnotes:VERY RARE, WITH FINE ENGRAVINGS DEPICTING THE SIEGE OF MALTA BY THE OTTOMANS IN 1565.The engravings were made by Lucini after the paintings depicting the siege of Malta by Matteo Perez d'Aleccio (1547-1628), executed between 1576 and 1581, and which adorned the Sala del Maggior Consiglio at the Grand Master's Palace in Valletta. There is another issue of this book, with the imprint 'In Roma con Licenza de' Superiori l'anno MDCXXI appresso Nicolo Allegri'.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
RONDINELLI (GIOVANNI BATTISTA)Statuta Hospitalis Hierusalem, 39 full-page engravings by Philippe Thomassin (comprising allegorical title; two scenes depicting the installation of Hugues Loubenx de Verdalle; God in glory, with banner 'Effigies magistror(es) Hospitalis'; medallion portrait of H.L-V.; 12 engraved plates showing the 48 Grand Masters of the order from 1099; 1 engraved plate with the last three Grand Masters including H.L-V; 21 engravings surrounded by an ornate woodcut-border), light spotting, title and a few plates neatly restored, with minor losses to title and one plate, a few woodcut borders shaved [EDIT16 CNCE 10488, Adams J 151-152], Rome, [1588]-- VELTRONIO (TOLOMEO) Index materierum, title in red and black surrounded by ornate woodcut border, lacking final leaf (ends B3, mid letter 'S' of index), Rome, [no publisher], 1588, 2 works bound in 1 vol., washed, modern vellum, folio (315 x 225mm.)Footnotes:The Statutes of the Knights of the Order of Saint John. First printed in 1586, this edition printed in 1588 following the installation of Hugues de Loubens-Verdalle, Grand Master of the Order, as cardinal of of S. Maria in Portico Octaviae by Pope Sixtus V in December 1587. Lavishly illustrated, including a map of Malta and a plan of Valletta.Mortimer, who compared the known copies of this work notes that there is 'an extraordinary variety of settings, states, binding variants and added copperplates' [Mortimer 273]. This copy has a two-page preface dated 1586 and signed Io. Baptista Canobius, a one page dedication to H. L-V by Giovanni Battista Rondinelli followed by the Statutes of the Order with table of contents preceding the text. The Statutes lack the engraved plate with the Order's motto, and 2 printed leaves 'Nova Statuta' (as often). Appended to the Statutes is a second work, Index Materierum, by Tolomeo Veltronio.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
FEBURE (MICHELE)Teatro della Turchia, title with engraved arms of Pope Innocent X, damp-staining and spotting, p.253 faded with some loss to text, early ink inscription and library stamp of Casa di Sant'Antonio Chieri on title, modern half cloth [Atabey 421], 4to Milan, heirs of Antonio Malatesta, 1681--PIAZZA (VINCENZO) Bona Espugnata, additional engraved title (repair to verso), engraved frontispiece portrait of the author, 12 full-page engraved plates by Mauro Oddi, repair to upper margin of pp.159-194 occasionally affecting the text, eighteenth century vellum, 8vo, Parma, Corte, 1694-- LOREDANO (GIANFRANCESCO) Historie de' re' Lusignani,lacking frontispiece, damp-staining, early ownership inscriptions on first fly-leaves and title-page, vellum, ink title and blue label on spine, worn, 12mo, Venice, Guerigli, 1651--GHISSELIN (AUGER DE BOUSBECQUES) [Opera] omnia quae extant, engraved title, armorial bookplate of Amadei Svajer, calf gilt, g.e., 12mo, Leiden, Elzevir, 1633; Turcici Imperii Status, second edition, engraved title, calf gilt, corners bumped, 12mo, Leiden, Elzevir, 1634--(HABESCI) ELIAS Etat actual de l' Empire Ottoman, 2 vol., first French edition, half-titles, some spotting and damp-staining, lower margins of some pages torn, calf gilt, 8vo, Paris, Lavillette, 1792-- POUJADE (EUGENE) Chretiens et Turcs, scenes et souvenirs de la vie politique, militaire et religieuse en Orient, damp-stained, half morocco gilt, rubbed, [Atabey 980], 8vo, Paris, Didier, 1859 (7)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
WILDE (OSCAR)Le portrait de Dorian Gray, ONE OF 30 COPIES printed on 'Hollande' with a extra suite of plates on 'Japon' paper, from an overall edition of 250, translated by D'Edmond Jaloux and Felix Frapereau, half-title, title printed in purple and black, 23 engravings by J.E. Labourer, tissue-guards, uncut, publisher's wrappers, spine broken, folio (300 x 230 mm.), Paris, Societe d'Edition Le Livre, 1928; The Sphinx... Illustrated by Alastair, LIMITED EDITION, half-title, frontispiece, 9 colour plates, light off-setting, publisher's cloth gilt, t.e.g., minor wear, large 4to (310 x 230mm.), Bodley Head, 1920; Salome. Vingt eaux-fortes originales gravees par Lobel–Riche, NUMBER 14 OF 24 COPIES, 20 engraved plates (each in 2 states only of 4, also lacking the original drawing), 5 hors-commerce plates in 4 states, publisher's wrappers gilt, marbled boards portfolio, folio (330 x 205mm.), Paris, Editions d'Art Devambez, 1930; and 15 others (18)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
BURRA (PETER)Archive of highly-acclaimed critic, essayist and writer Peter Burra (1909-1937), including correspondence, manuscripts, papers, photographs and printed material from throughout his life, and autograph letters from Benjamin Britten, Peter Pears and E.M. Forster, comprising:i) Early Life: Group of c.90 autograph letters and postcards home from his schooldays at Bilton Grange and Lancing College (several mentioning Peter Pears and one mentioning dining with Evelyn Waugh), and other material including school reports and printed programmes, c.250pp, 4to and 8vo, 1912 to 1928;ii) Oxford University: Some 48 letters to his mother ('My darling Moo') and sister Nell ('Darling Nell') from Christ Church, particularly on his activities in musical circles ('...Life here could be one continuous musical festival if one could afford it...'), the production of Lovers' Vows in his rooms, his bookish tastes ('...Decline & Fall which is screamingly funny... I am beginning Virginia Woolf's Orlando. There was never anything like it in the world before...'), John Middleton Murry ('...looks indescribably sad and puzzled and generally very inspired...'), amusing college characters ('...one man with a black shirt and red tie, and I gathered that in him fascism and socialism were finding reconciliation...'), gossip ('...Oxford is simply rocking with rage over 'The Well of Loneliness' case...'), much on publication of Farrago and its success ('...Virginia Woolf has sent a subscription! Twice!...'), Michael Redgrave in Henry IV ('...quite beautiful...'), Malcolm Sargent ('...the best conductor... I've ever done anything with...'), Vaughan Williams ('...frantically bad rehearsal...'), Jelly D'Aranyi ('...the most wonderful noise & ravishing sight...') and much else, c.210pp, folio, 4to and 8vo, Christ Church and Long Wall, 1928-1932; with a printed programme for Lover's Vows signed by the cast, various concert programmes, postcards, newspaper cuttings and printed miscellanea, etc.; with an additional group of items relating to the publication of Farrago including a rare specimen prospectus, no. 1, February 1930 and printed pre-publication leaflet for issue no. 4, 1931; two original pen and ink designs by Oliver Holt, c.1930; and various incoming letters (A.J. Symons, Laurence Whistler, Max Beerbohm) commenting on the publication; iii) Germany: Group of some 25 letters and postcards sent home whilst writing for The Times, much on opera and exhibitions ('...Kokoshka the modern German painter...'), having his portrait painted by Heidi Berzlein, politics ('...frantic riots in the Reichshalle... when Communists shot at Hitlerites...') and hearing Hitler speak in Munich ('...It was the most repulsive exhibition I've ever seen... I think it advisable to see as much of the country as possible now. It will certainly be uninhabitable in a few months...'), c.80pp, 4to and 8vo, Cologne and elsewhere, April to September 1932; programmes and correspondence from Salzburg, 1935; with later letters to his mother ('...coming up to town this evening for a concert Benjamin is playing in, going with Christopher Isherwood... I have got a motorbike, BSA, and am very pleased with it...'), including his last on 26 April 1937;iv) Britten, Berkeley and Pears: Group of 13 autograph letters and notecards from Benjamin Britten, making arrangements and thanking him for photographs ('...We couldn't have had a worse evening for listening to Jonah... we were in great danger of being struck by lightning...'), congratulating him on his Forster article ('...Christopher Ish was here last night until very late and we had a grand time...'); including four to John Moody after Burra's death ('...I hope by now you've seen Gloriana & approve...'), 18pp, 4to and 8vo, Frinton on Sea, Newquay, London, Aldeburgh, 22 June 1936 to 14 August 1973; eleven autograph letters and cards from Lennox Berkeley ('...Are you being a good boy or are you a wicked thing spending all night in the Barrio Chino?...'), on Britten ('...a charming creature...') and Burra's work ('...Van Gogh... beautifully done...'), 19pp, 8vo, Madrid, Paris, Painswick, May 1936 to April 1937; letters and postcards from Peter Pears to Nell (8), Peter (1) and Ella (1), on various subjects ('...In going though old letters the other day, I found one from Peter from Barcelona where he had just met Ben. He really brought us together...'), c.18pp, 4to and 8vo,, Lancing, Oxford, Aldeburgh and elsewhere, January 1928 onwards; with a typescript interview with Pears about meeting Britten; with tickets, programmes and articles from the Barcelona Festival, April 1936 and further letters and postcards from Burra to his mother and Nell, one mentioning meeting Edith Sitwell ('...perfectly charming...'); v) E.M. Forster: Series of 15 autograph letters and one postcard from E.M. Forster, signed ('E.M. Forster'), three to Peter Burra, the first written after reading his article on Forster in Nineteenth Century ('...nothing that I have read about myself has ever given me more pleasure... great help at the moment when I am needing it... I have been looking at my books lately, partly on account of your article. I think A Passage to India stands, but the fissures in the others are considerable...'), the second a critique on his own work ('...Howards End I lose patience with...'), the third arranging to meet and discussing Burra's work on Forrest Reid, with three autograph envelopes; the remainder to Ella Burra post-1937 (two to John Moody) beginning with his letter of condolence ('...I am a writer, and so can perhaps realise the unreparable loss that he is to literature as well as to those who loved him. I thought him the best critic of his generation... I knew and appreciated him...'), others discussing his introduction to the unpublished memorial Essays and Poems ('...if the book is to be for private circulation I would like to contribute...') and the inclusion of Burra's essay on Forster in the 1942 Everyman edition of A Passage to India, 22pp, 4to and 8vo, Abinger Hammer and King's College, 29 November [19]34 to 29 October [19]60;vi) Poetry and Plays: Group of c.30 manuscript poems including 'Sonnet of the Seeker' (with primary version), 'Prelude for the Thrush', 'King David at Cambridge', 'Not Even Summer Yet', 'The Poet's Trinity', 'The New Birth', some signed and dated, with a modern typescript; typescripts of 'The Secret Marriage. Cimarosa' (two copies, one annotated by Burra 'Dialogue specially written for the Canticleer Company's Production July 1933 by Peter Burra'), two typescript copies of Burra's translation of Eugen Gurster's 'Weather Changeable' (amended to 'Outlook Unsettled'), and 'A Note on Shakespeare'; For further information on this lot please visit Bonhams.com
CHURCHILL (WINSTON)Arms and Covenant, FIRST EDITION, AUTHOR'S PRESENTATION COPY, INSCRIBED To George [Lloyd] from Winston, August 1938', portrait frontispiece, publisher's cloth [Wood A44(a)], 8vo, George G. Harrap, [1938]Footnotes:RARE EXAMPLE OF A PRESENTATION COPY INFORMALLY INSCRIBED BY 'WINSTON' TO A CLOSE FRIEND. The recipient, 'George', was Lord Lloyd, who had first entered parliament as an M.P. in 1910, subsequently working closely with Churchill throughout his political career. When Churchill became Prime Minister in May 1940 he appointed Lloyd to his Cabinet as Colonial Secretary, at the same time as he was chosen as leader of the House of Lords. On his death a few months later Churchill addressed the House, stating 'To me the loss is particularly painful. Lord Lloyd and I have been friends for many years and close political associates during the last twelve years. We championed several causes together which did not command the applause of large majorities; but it is just in that kind of cause... that one learns the worth and quality of a comrade and friend' (quoted in Churchill's preface to Life of Lord Lloyd by Colin Forbes, 1948). 'These forty speeches are a sustained effort to maintain the peace in Europe and safety of Britain... If British interests are set in the foremost place, it is only upon the condition that they shall serve the cause of a free and progressive world' (Randolph S. Churchill, introduction).Provenance: George LLoyd, Baron Lloyd of Dolobran (1879-1941), gift inscription from the author; 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
CHURCHILL (WINSTON S.)Two typed letters signed ('Yours sincerely/ Winston S. Churchill') to Lady Aberconway ('My dear Lady Aberconway', 'Dear Lady Aberconway'), the first thanking her for her letter regarding her forthcoming Dictionary of Cat Lovers, but regretting he is unable to help her ('...I have never made a painting or a drawing of a cat, although I am very fond of them...') and wishing her every success; the second giving permission for '...some very beautiful black and white studies of my yellow cat, drawn by Sir William Nicholson...' to be reproduced, 2 pages, filing hole to top left hand side of each, slight spotting and dust-staining, creased at folds, one small tear, 4to (240 x 190mm.), Chartwell and 28 Hyde Park Gate, 3 and 9 March 1949 (2)Footnotes:'I HAVE NEVER MADE A DRAWING OF A CAT, ALTHOUGH I AM VERY FOND OF THEM'.Churchill was a life-long cat lover and shared Downing Street and Chartwell with a number of notable felines (their stories are told in Fred Glueckstein's article 'Cats Look Down on You: Churchill's Feline Menagerie', winstonchurchill.org). The artist William Nicholson was commissioned to paint a (now lost) portrait of the Churchills at Chartwell in 1933 and was subsequently a frequent visitor to Chartwell in the years that followed, during which time he taught Churchill to paint and made several studies of Churchill's cat Tango. Tango also appears in Nicholson's the Study for Breakfast at Chartwell II, where he is shown siting on the breakfast table. Churchill's private secretary John 'Jock' Colville presented him with a marmalade cat, Jock, on his eighty-eighth birthday, and the tradition of marmalade cats residing at Chartwell continues to this day.Christabel Aberconway's A Dictionary of Cat Lovers, XV Century B.C. to XX Century A.D. was published in 1949 by Michael Joseph, who himself was a keen felinophile (it is said he had fourteen at one time). The following year he published his own homage to the species Cat's Company.Provenance: Michael Joseph (1897-1958) publisher; thence by descent to the present owner.For further information on this lot please visit Bonhams.com
CONRAD (JOSEPH)The Secret Agent, NUMBER 923 OF 1000 COPIES SIGNED BY THE AUTHOR, photogravure portrait of the author by Emery Walker, publisher's parchment-backed cloth, dust-jacket with printed label on spine (light soiling to spine, T. Werner Laurie Ltd, 1923; The Works, 20 vol., NUMBER 97 OF 780 SETS SIGNED BY THE AUTHOR on colophon of volume 1, publisher's buckram-backed cloth, light soiling to spines, William Heinemann, [1931-1927]; Within the Tides. Tales, FIRST EDITION, title printed in red and black, vertically ribbed green cloth, J.M. Dent, 1915; The Arrow of Gold, FIRST ENGLISH EDITION, dark green cloth gilt, T Fisher Unwin, 1919; The Rover, FIRST ENGLISH EDITION, dark green cloth, T. Fisher Unwin, [1923]; The Nature of a Crime [with F.M. HUEFFER], FIRST EDITION, ownership inscription of D.A. Macaulay (1924) on front free endpaper, publisher's red cloth, spine faded, Duckworth, [1924]; Suspense... Introduction by Richard Curle, FIRST ENGLISH EDITION, frontispiece, publisher's maroon cloth, J.M. Dent, 1925; Five Letters... Written to Edward Noble in 1895. With a Foreword by Edward Noble, LIMITED TO 100 COPIES signed by the Noble, publisher's wrappers, Privately Printed, 1925; Joseph Conrad's Diary of His Journey Up the Valley of the Congo in 1890, LIMITED TO 100 COPIES, spine faded, Privately Printed, 1916--[CURLE (RICHARD)] Notes on Joseph Conrad Written in a Set of His First Editions in the Possession of Richard Curle... with a Preface by Jessie Conrad, LIMITED TO 100 COPIES signed by Jessie Conrad, Privately Printed, 1925; CONRAD (JESSIE) Personal Recollections of Joseph Conrad, LIMITED TO 100 COPIES SIGNED BY THE AUTHOR, light spotting, spine label frayed, Privately Printed, 1924, final 3 mentioned publisher's cloth, 8vo; and another by Conrad (31)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
DOVES PRESSSHAKESPEARE (WILLIAM) The Tragedie of Julius Caesar, [LIMITED TO 200 COPIES], limp vellum by The Doves Bindery (signed inside lower cover), lettered in gilt on spine, [1913]--On a Passage in Julius Caesar. A Letter Addressed to the Editor of 'The Times' July 17, 1913, 4pp., loose as issued in publisher's printed brown wrappers, [1913]--Catalogue raisonné of Books Printed & Published at the Doves Press 1900-1916, [LIMITED TO 150 COPIES], engraved frontispiece portrait by A. Legros, old newspaper cuttings loosely inserted, publisher's vellum-backed boards (some light spotting to sides), 1916, first and last mentioned printed in red and black, small 4to, Doves Press (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
FORSTER (E.M) – GEORGE PLATT LYNESGroup of three portrait photographs of E.M. Forster, shown standing full-length or seated on a wooden bench, formally dressed in a pin-stripe suit and tie, two dated on reverse by Forster ('1947' and '1947 with Bob' [the last two words deleted]), another with inscription in black ink ('Taken on the first trip/ much love/ Lincoln [Kirstein] & Fidelma [Cadmus]/ 1971. January'), gelatin silver prints, photographer's '145 East 52 Street New York' stamp on reverse, 230 x 190mm., [1949]Footnotes:'LIKE AN ACTOR WAITING IN THE WINGS': PORTRAITS OF FORSTER BY THE RENOWNED NEW YORK PHOTOGRAPHER GEORGE PLATT LYNES. Forster (and indeed Lincoln Kirstein) has erroneously dated these photographs to his first trip to New York and Washington from April to July 1947. However, other photographs from the same sitting depict him with Bob Buckingham, who accompanied him on a brief trip to New York in May 1949, and was not with him on the earlier occasion. They were taken on the afternoon of 1 June 1949 in the austere setting of George Platt Lynes' studio and have been seen an important moment in the recording of gay relationships (see Wendy Moffat, 'Queer Patrimony: George Platt Lynes's Portraits of E.M. Forster', The Yale University Library Gazette, Vol.82, no.3/4, April 2008, pp.123-140). 'In these dramatic beautifully lit photographs' she writes, 'Lynes manages to make both his subjects their most glamorous selves, and their essential selves... Though notoriously shy, Forster was made comfortable both by Lynes' self-effacing working method, and by Lynes' bona fides as a lover and close friend of several of Forster's closest American friends... Lynes' physical beauty and his extraordinary charm disarmed many of his photographic subjects... His studio embodied a stylized artificiality... famous for his theatrical lighting arrangements and innovative fashion photography' (Moffat, p.129-134). In our photograph, Forster stands at the edge of the composition, the only photograph from the session in which Forster looks directly at the camera. Moffat believes that it was taken surreptitiously, and that Forster did not see a print of it – something which may be borne out by the fact it was presented to Furbank after Forster's death by the impresario and philanthropist Lincoln Kirstein and is not annotated by Forster: '...alone, resolute... It captures his owlishness and his vulnerability... The Lynes portrait of Forster – shown to the fewest people – goes the furthest in capturing Forster's queerness' (Moffat, p.136). Towards the end of his life, Lynes sold it with a batch of his most explicit homoerotic nudes to the sexologist Alfred Kinsey for research purposes. The present trio of photographs derive from the collection of Forster's biographer, P.N. Furbank, the standing photograph published in Wendy Moffat, E.M. Forster: A New Life, London, 2010. Provenance: P.N. ('Nick') Furbank (1920-2014); his friend and executor Dr W.R. Owens, the present owner (see adjacent lots).For further information on this lot please visit Bonhams.com
FOWLES (JOHN)The Collector, author's signature on slip loosely inserted, dust-jacket with slight soiling and creasing at edges, 1963; The Aristos. A Self-portrait in Ideas, Boston, Little, Brown, 1964; idem, first UK edition, 1965; The Magus, some rust marks to free endpapers, ink marks and annotation to dust-jacket inner flaps, 1966; The French Lieutenant's Woman, dust-jacket rubbed and creased at edges, 1969; My Recollections of Kafka, offprint from Mosaic: A Journal for the Comparative Study of Literature and Ideas, [vol.] III / [no.] 4, ONE OF 25 COPIES, SIGNED BY THE AUTHOR at the end, 11pp., stapled as issued in illustrated wrappers, University of Manitoba Press, [1970]; Poems, New York, Ecco Press, 1973; The Ebony Tower, SIGNED (1980), 1974; DURFORT (CLAIRE DE) Ourika. Translated into English with an Introduction and Epilogue by John Fowles, ONE OF 500 COPIES, SIGNED BY FOWLES at the end of the text, original blue morocco-backed boards, Auston, Texas, W. Thomas Taylor, 1977; Mantissa, NUMBER 490 OF 510 SIGNED COPIES, publisher's red cloth, acetate dust-jacket (torn), slipcase with mounted illustration, tall 8vo, Boston, Little, Brown, 1982; idem, first UK edition, 1982; The Falklands and a Death Foretold, offprint from The Georgia Review, vol. XXXVI, No. 4, Winter 1982, 7pp., stapled as issued, title wrapper with 'John Fowles Lyme Regis' blind-stamp, 1982; A Maggot, NUMBER 476 OF 500 SIGNED AND SPECIALLY BOUND COPIES, publisher's cloth-backed boards, 1985; Behind the Magus, COPY 'Q', ONE OF 26 WITH AN AUTOGRAPH QUOTATION FROM THE TEXT AND SPECIALLY BOUND, from an overall edition of 232 copies signed by the author, original Nigerian goatskin, Colophon Press, 1994; Wormholes. Essays and Occasional Writings, NUMBER 56 OF 100 SIGNED COPIES, publisher's light blue cloth with matching slipcase, Colophon Press, 1998, FIRST EDTIONS, unless otherwise stated publisher's cloth with dust-jackets, Jonathan Cape, 8vo; and 18 others, later books, collaborative works, a proof copy etc., several signed (33)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
LEONARDO DA VINCIA Treatise of Painting... Translated from the Original Italian... to Which is Prefix'd, the Author's Life, engraved portrait frontispiece, title printed in red and black, 35 engraved plates (4 folding), 2 plates shaved just within platemark not touching image, short tear to pp.17/18, light arc of dampstaining to a few leaves towards end, contemporary panelled calf, red morocco spine label, worn, joints weakened, 8vo, J. Senex, and W. Taylor, 1721Footnotes:FIRST EDITION IN ENGLISH of Leonardo da Vinci's Trattato della pittura, compiled from manuscripts written during his lifetime, but first published in Italian in 1651. In these Leonardo outlined his influential theories regarding anatomical drawing, perspective, and other elements of artistic composition.Provenance: Edward Pawlet (died 1768), barrister at the Middle Temple, inscription dated 1729 inside upper cover, three years after he had been elected as a Fellow of the Royal Society. His library was dispersed in 1769; J.W. Upham, 1801; D.B. Robinson, 'great great neice [sic] of the above, 1898', all ink inscriptions inside upper cover.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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