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.
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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](https://cdn.globalauctionplatform.com/ccdb6d54-77ac-49b7-bb5d-af3c00ca756d/bc9c5bca-aa5a-4498-9e4d-af3c00cdb60f/468x382.jpg)
[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 portrai](https://cdn.globalauctionplatform.com/ccdb6d54-77ac-49b7-bb5d-af3c00ca756d/027d7bed-37a2-4f44-9e75-af3c00ce8437/468x382.jpg)
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, Au](https://cdn.globalauctionplatform.com/ccdb6d54-77ac-49b7-bb5d-af3c00ca756d/94ca7932-e3ea-46da-80ee-af3c00d0e891/468x382.jpg)
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 (s](https://cdn.globalauctionplatform.com/ccdb6d54-77ac-49b7-bb5d-af3c00ca756d/bb8a3560-40c0-431b-b622-af3c00d0fd47/468x382.jpg)
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
PHOTOGRAPHY - DAGUERREOTYPESA collection of twenty British and American daguerreotype portraits of men, women or couples, including images W.G. Helsby of Valparaiso, Brady's Gallery of New York, Beard & Foard of Liverpool, and Claudet's Gallery of London, all but 2 cased (2 lacking upper cover), others mounted as brooches, 2 whole-plate (214 x 165mm., one slightly smaller), 7 quarter plates, others smaller, [c.1845-1855]; and 8 others, including 8 ambrotypes, of which 6 in original cases (29)Footnotes:Daguerreotypes include: Double portrait of man and woman seated, tinted with jewellery in gilt, 215 x 160mm.), by W.G. Helbsby of Valpairiso; Double portrait of two men, one seated, tinted, 105 x 80mm., by Brady's Gallery, 205 & 359 Broadway; Three single portraits, one 10 x 85mm., others 85 x 75mm., by Claudets at Royal Adelaide Gallery; Five single portraits, one 195 x 150mm., others smaller, by Beard, or Beard & Foard at various Liverpool addresses.For further information on this lot please visit Bonhams.com
PHOTOGRAPHY - GEORGE DAVISONDAVISON (GEORGE) A group of 6 vintage photogravures, including views of Harlech Castle, the bay and local school children, ALL SIGNED BY THE PHOTOGRAPHER ('G. Davison') lower right beneath image, 2 additionally inscribed with caption by Davison, 2 with printed caption pasted below, photogravures, all printed on Japanese paper, early window-mounts, images typically approx. 180 x 240mm., [c.1912-1916]--COBURN (ALVIN LANGDON) Portrait of fellow photographer George Davison, photogravure on Japanese paper, INSCRIBED BY THE SITTER 'The seasons greetings from G.D. Xmas, 1918' on the early window-mount, image 280 x 200mm., [1918] (7)Footnotes:Images by Davison comprise; 'Harlech from the Golf Links. Christmas Greetings 1913'; 'The Saltings. Christmas Greetings 1914', both captioned with printed label beneath image; View of Harlech Castle; Towards Snowdonia [c.1912], both uncaptioned; 'Our Little School at 'Wem Fawr' in Summer 1916. Xmas Christmas 1917'; 'Some of Our Little School on the Shore, Harlech, Summer 1915. Christmas 1916/17', both inscriptions in pencil by Davison.Included with the group is a fine portrait of Davison by fellow photographer, and champion of photographic pictorialism, Alvin Langdon Coburn.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
LAWRENCE (T.E.)The Seven Pillars of Wisdom, a Triumph, ONE OF 170 COMPLETE COPIES, INSCRIBED BY LAWRENCE 'Complete copy. i.xii.26 TES' on list of illustrations, and with 'Roberts' amended in ink to 'K[ennington]' as usual, this copy additionally inscribed by H.J. Hodgson (one of the printers) on the colophon, printed in red and black, colour frontispiece portrait of Feisal by Augustus John and 65 plates (many coloured or tinted, 4 double-page) by Eric Kennington, William Roberts, Augustus John, William Nicholson, Paul Nash and others, 4 folding colour maps (laid on linen), 58 illustrations in text (one colour) by Roberts, Nash, Kennington, Blair Hughes-Stanton, Gertrude Hermes and others, initials by Edward Wadsworth, illustrated endpapers by Kennington, with the four-page 'Some Notes on the Writing of the Seven Pillars of Wisdom by T.E. Shaw' bound in before title, vellum-backed boards by Bumpus (stamped inside upper cover), titled in gilt on lower cover, g.e., original pictorial endpapers, preserved in contemporary fleece-lined morocco-backed solander box (with Leicester Gallery catalogue of the pictures, 1927 held in a sunken pocket inside upper cover), large 4to, [Printed for the author by Manning Pike and H.J. Hodgson], 1926Footnotes:ONE OF 170 'COMPLETE COPIES' OF THE FIRST PRIVATELY PRINTED EDITION OF LAWRENCE'S CELEBRATED MASTERPIECE, 'a personal, emotional narrative of the Arab revolt in which Lawrence reveals how by sheer willpower he made history. It was a testimony to his vision and persistence and a fulfilment of his desire to write an epic... its climax is the Arab liberation of Damascus, a victory which successfully concludes a gruelling campaign and vindicates Lawrence's faith in the Arab' (ODNB).This copy, in common with most of the complete copies, has page XV mis-paginated as VIII, and Kennington's coloured landscape tail-piece ('False Quiet') at the end of page XVIII. The 'Prickly Pear' plate is included, but not the two Paul Nash line drawings called for on pages 92 ('The prophet's tomb') and 208 ('A garden'), or the Blair Hughes-Stanton wood-engraving that in some copies illustrated the dedicatory poem.Provenance: Helen and Michael Oppenheimer (see other Lawrence items in this sale).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
LAWRENCE (T.E.)The Seven Pillars of Wisdom, NUMBER 747 OF 750 COPIES, photographic portrait frontispiece and 53 plates and illustrations (4 colour) 4 folding maps, uncut in publisher's pigskin-backed buckram gilt, t.e.g., a few small abrasions to spine [O'Brien A041], 4to, Jonathan Cape, [1935]Footnotes:Provenance: Helen and Michael Oppenheimer, 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
PHOTOGRAPHY - JULIA MARGARET CAMERONPortrait photograph of Alfred, Lord Tennyson, half length and half turned to the right, albumen print, mounted on contemporary card mount within single fillet gilt border, INSCRIBED AND DATED BY JULIA MARGARET CAMERON 'From Life, Registered Photograph copyright Julia Margaret Cameron, Freshwater taken 3d June 1869' beneath the image and 'Given to dearest Mrs. Tennyson by her grateful friend Julia Margaret Cameron, June 18th 1869' in lower margin of mount, with facsimile signature of the sitter, and Colnaghi blindstamp in lower margin of mount, framed and glazed, image 305 x 245mm., mount to view 495 x 395mm., 3 June 1869Footnotes:'The last photograph of the Laureate', as sometimes captioned by Julia Margaret Cameron, taken on 3 June 1869.Reference: Julian Cox and Colin Ford, Julia Margaret Cameron. The Complete Photographs, 2002, No. 810.Provenance: Emily Tennyson, wife of Alfred, inscribed 'given to Mrs. Tennyson by her grateful friend Julia Margaret Cameron June 18th 1869' on the mount.For further information on this lot please visit Bonhams.com
MINIATURE BOOKS - DAVID BRYCEAn extensive collection of some 201 works, published by David Bryce of Glasgow, including six copies of the Koran (one of which is an exceptionally rare example printed entirely in gold), the Khordeh Avesta, four copies of the Ghita-Pancha-Ratna, numerous sets of the Complete Works of William Shakespeare (including the famed Ellen Terry series, 'Bryce's greatest achievement as a leading promoter of miniature books' according to Bondy), the Midget Library, three sets of the Mite Series in tartan, three copies of the extremely rare and tiny Gray's Elegy in a Country Churchyard (the smallest Bryce book, 'exceedingly rare... at one time said not to exist', per Bondy), three copies of The Rubaiyat of Omar Khayyam, a Holy Bible once owned by Nora Bryce herself (plus 25 other Bibles), numerous copies of the miniature Dictionaries and Thumb Series, and a variety of sets of poetical works by Scott, Tennyson and Burns, some sets housed in their original (sometimes revolving) bookcases, the majority in original publisher's bindings, Glasgow, David Bryce, [various dates]Footnotes:THE MOST COMPREHENSIVE AND EXTENSIVE COLLECTION OF MINIATURE BOOKS PUBLISHED BY DAVID BRYCE & SON OF GLASGOW TO HAVE EVER APPEARED ON THE MARKET, containing many of the books described in the chapter devoted to Bryce in Louis Bondy's Miniature Books, 1981.A full list of the collection is available on request, but some of the principle works include:--SHAKESPEARE (WILLIAM) Complete Works, 40 vol., 3 sets, dedicated to the actress Ellen Terry, illustrated frontispiece, gilt cloth bindings (red, dark turquoise and forest green), housed in the original revolving bookcases by Bumpus, 55 x 38mm. [Bondy 114; Spielmann 459], 1904--SHAKESPEARE (WILLIAM) Complete Works, 40 vol., 2 sets, dedicated to the actress Ellen Terry, illustrated frontispiece, India paper, gilt Harlequin leather, housed in revolving bookcases by Bumpus, some covers sunned, 50 x 35mm, [Bondy 114; Spielmann 459], 1904 --SHAKESPEARE (WILLIAM) and J. TALFORD BLAIR (ed.). Complete Works, 40 vol. illustrated frontispiece, red leather gilt, the majority with dust-jackets, contained in an Art Nouveau gated hanging wooden bookcase with minor wear, 50 x 30mm., 1915--SHAKESPEARE (WILLIAM) Complete Works, 40 vol. bound in 20, 2 sets, dedicated to the actress Ellen Terry, illustrated frontispiece, red leather, housed in a wooden replica of Shakespeare's desk and in a oak-wood chest with a drop front (to which is fixed a metal bust of Shakespeare), 54 x 33mm, c.1900--[Qur'an] The Koran, PRINTED ENTIRELY IN GOLD, in Arabic, decorated borders to each page, red morocco gilt, housed in a typical 'Bryce style' white metal hinged locket with inset magnifier, a very rare example as only a few were printed in gold, 27 x 19mm [Bondy 111], c.1900 --[Chained Bible] 'Smallest Bible in the World', The Holy Bible, Containing the Old and New Testaments, Produced for the Tercentenary Commemoration of the Authorised Version of the English Bible, illustrated frontispiece, brown blind-stamped roan, with magnifier in pocket inside front cover, chained to a model wooden lectern (measuring 139mm.), hinges lose, contained in its original box with a pictorial label which is very rare [Bondy p.109], 42 x 30mm., c.1901--[Midget Library], complete 12 vol. set (German English Dictionary; French English Dictionary; English Dictionary; Tourist's Conversational Guide in English French German Italian; Golden Thoughts from Great Authors; The Koran; New Testament; Robert Burns; English Scots and Irish Songs; Animals; Birds), illustrated frontispieces, limp red morocco gilt, minor wear [Bondy 72, 107, 11, 113], housed in original and very rare Jahncke's tin, with hinged door and fitted glass fronted case set in an angled wooden stand, all measure 26 x 12mm. (except the New Testament which is 18 x 15mm.), 1925--The Allies Bible in Khaki, 5 copies (one with the original dust-jacket and all but one with magnifying glass), prefaced with the national anthems of the Allies, a recessional by Rudyard Kipling, and Neil Munro's 'Evening Prayer of a People', khaki cloth, minor wear [Bondy 110], c.1914 --The Holy Bible Containing the Old and New Testaments Translated out of the Original Tongues ... by His majesty's special command, illustrations, inscription by Nora Bryce on first fly-leaves ('Nora Bryce – Given to me by Davie's father on my first visit to 60 Berkeley St. Glasgow – August 1914.'), cream Oxford morocco gilt, yapp edges, with magnifying glass [Spielmann 24-25], 40 x 30mm., c.1900--'Illustrated Miniature Bible': The Holy Bible, Containing the Old and New Testaments, Souvenir of the Glasgow Exhibition, illustrations, dark green cloth, minor shelf-wear, 45 x 30mm., c.1901--New Testament, 3 copies, gilt leather (green, charcoal, and red) [Bondy p.111, 'staggeringly small'], 20 x 16mm., 1896--'The Mite Series in Tartan' (including Burns' Poems First Edition 1786; Bryce's English Dictionary; English Scotch and Irish Songs; My Tiny Alphabet Book; My Tiny Alphabet Book), illustrations in colour, tartan paper covers over red cloth, housed in a in fitted plain wooden box divided into six compartments with hinged glazed top, sixth space in the box as a framed portrait of Burns beneath a magnifying glass, 27 x 20mm., 75 x 80mm. (box), c.1905--[The Coronation Bible], Holy Bible Containing the Old and New Testaments Translated out of the Original Tongues ... by His Majesty's Special Command, 5 copies, illustrations, two in purple cloth with round medallion photograph on upper cover, two in dark tan embossed leather, one in dark red buckram [Bondy 109], 43 x 35mm., 1902, 1911 and 1914--English and German Dictionary, red leather, 31 x 19mm., c. 1896--Khordeh Avesta, red morocco gilt, housed in a white metal hinged locket with inset magnifier and engraved floral decoration, overall 26 x 19mm., c.1900--'Smallest English Classic in the World': Thomas Gray, An Elegy Written in a Country Churchyard, 3 copies, maroon leather gilt, 17 x 13mm. [Bondy p.113-4], 1911--Tourist's Conversational Guide in English, French, German, Italian, red leather gilt, housed in a sterling silver hinged locket with embossed floral design around inset magnifier and to rear, 26 x 19mm., c.1900 --Old English Scotch and Irish Songs, illustrated with twenty-four original sketches by A.S. Boyd, red paper wrappers, housed in a sterling silver plain case with inset magnifier and slide hinge, 26 x 19mm., c.1900--Napoleon's Book of Fate, 2 copies, one fold out plate, red leather gilt and blue leather gilt, 50 x 34mm., c.1905 --SCOTT (WALTER) and ROBERT BURNS. Poems, 12 vol. (double set of 6 vols. each), illustrated, early ownership inscription on first fly-leaves with 1895 date, green buckram gilt and embossed, minor wear, 85 x 60mm., housed in a double-hinged and lidded tartanware box, 96 x 75 x 115mm., Fredrick A. Stokes and Brother, New York. c.1890's--BURNS (ROBERT) The Poetical works of Robert Burns, Pearl Edition, illustrated frontispiece, various bookplates, ownership signature and collation markings of bibliographer Edward Gordon Duff and bookplate of Grace Broecker, brown morocco by Fazakerley (Liverpool) with gilt text in Greek on upper cover, fore-edge painting comprising a circular portrait of Burns, flanked by his birthplace at Alloway, and the old 'Brig O Doon', with slipcase, minor wear [not in Bondy or Spielmann; not in NLS collection], 85 x 60mm., c.1890--The Rubaiyat of Omar Khayyam, 3 copies, green leather gilt, dark green marbled board, cream boards with red and gold print decoration, minor wear, 53 x 35mm. (one copy), 70 x 80mm., c.1904--My Tiny Alphabet Book, 2 copies, colour illustrations, respectively in red and b... 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PHOTOGRAPHY, CORFU AND CRIMEAAlbum compiled by Lady Emily Ponsonby, née Bathurst (1798-1877), containing a collection of some 45 early photographs, the majority taken by her son Lt. Col. Arthur Edward Valette Ponsonby (1827-1868), salt and lightly albumenised prints, many captioned in ink, including a group taken in Corfu in 1858 of landscapes and personalities ('The Citadel with Bridge across the Ditch/ Corfu', 'A View from the College of the Citadel', 'A Montenegro. Photographed by Arthur at Corfu 1858', 'Lord High Commissioner', 'Group at Corfu', 'HM Ship 'Terrible' Corfu' and 'Sir George Buller K.C.B.'), others taken at Hampton Court and elsewhere ('Fred by Barby. Ht Ct Palace. 1854', 'The Gravel Walk to the House at Coolhurst July 1859', 'The Gateway at Lord Bathurst's Cirencester', 'Julia photographed by Arthur at Holland's Field October 1857 printed by Barbara January 1858 at Hampton Court', 'Hath[e]rop Castle... 1859');Other subjects include a wild boar and the fallen spire of Chichester Cathedral, February 1861, accompanied by Henry Ponsonby's pen and ink sketch of Mrs Verschoyle taking a photograph in Eaton Square, July 19 1855, and a printed flyer for 'Photographic Sketches of People & Places in Corfu by Arthur Ponsonby', printed by Silver, Hypo & Son., Printers, 1859; interspersed with watercolours and ephemera, some relating to the Crimea ('cover of a Russian document found at Hertch in the house occupied by Lieut. General Sir George Browne, May 1855', a telegram from General Simpson to General Codrington warning 'The Russians are attacking the Sardinians reinforce your attack with one Brigade. Keep your civilians in Camp' 16 August 1855, autograph note from Sir Spencer Ponsonby-fane ('Sebastopol is taken – no details'), watercolours of soldiers, Ponsonby's ink plan of the attack on the Redan ('for Gen. Codrington and used by him'), watercolour map of Europe titled 'The Seat of War 1859', pencil sketch by Italian artist Gerolamo Induno, amusing extracts from Arthur Ponsonby's letters from the Crimea, printed advertisement for Roger Fenton's Crimea photograph 'The Tombs of the Generals on Cathcart's Hill', playbills etc.;With the official programme for the first distribution of the Victoria Cross, June 1847, letters and drawings from South Africa, 1853, and much royal memorabilia (menu for the Queen's birthday dinner, 24 May 1856, the wedding of the Princess Royal, 1858, souvenirs of an audience with Emperor Napoleon III in 1853, telegrams sent to Henry Ponsonby as Equerry to the Prince Consort on his visit to Prince & Princess Frederick of Prussia, June 1858, a trip to Balmoral in 1858, printed plan of 'Carriages on the Royal Train', etc.);Illustrated with over 20 watercolours (including family portraits and 'Boar Hunting His Majesty Present/1860') and pen and wash illustrations (pull-out ink drawing of 'View of Quarantine Harbour of Malta taken from Mr Bourchiers house' by Miss Bourchier, 'Waggons going down a hill... in Kaffirland'); with various playbills, menus, poetry, puzzles and much else; printed ownership label inside front cover ('Lady Emily Ponsonby/ Hampton Court Palace' with manuscript addition '4th scrap book'), above label with illuminated initials 'E.P.' in red, white and blue, 110 leaves, contemporary marbled boards, paper label on upper board with title 'Lady Emily Ponsonby/ Hampton Court Palace', amended in black ink to read 'Scrap Book 1852', marked and worn, spine partly detached, remains of label on spine, folio (278 x 220mm.), [1840's/1850's]Footnotes:THE CRIMEA, ROYALTY & EARLY PHOTOGRAPHS OF CORFU: An attractive album of illustrations, photographs, letters and printed ephemera compiled by Lady Emily Ponsonby (1798-1877), documenting the family's position at the heart of Queen Victoria's court and reflecting the activities of her sons, Arthur Edward Valette Ponsonby (1827-1868) and Henry Ponsonby (1825-1895), long-serving private secretary to Queen Victoria, and whose wife Mary was a close correspondent of the Victoria Princess Royal, Empress of Prussia (see corresponding lot in this sale).Arthur was commissioned into the Grenadier Guards, served in the Kaffir war and the Crimea, as shown here, and was quartered in Corfu in 1858-9, where he acted as aide-de-camp to General Sir George Buller, the Garrison Commander. He was a keen photographer, and the album contains unusual early photographic depictions of the island, of landscapes and architecture (such as 'The Citadel with Bridge across the Ditch/ Corfu' and 'A View from the College of the Citadel') and a number of portraits. Also included in the album are fine prints of English country house scenes and a photograph of his quarters at Aldershot. An amusing pen and ink sketch by his brother Henry depicts the pioneering photographer Catherine Verschoyle (1803-1871), only the fourth woman to join the Photographic Society (later the Royal Photographic Society) in 1853, its inaugural year, and renowned for her botanical and tree studies. She is shown under the cloth of her camera, skirts billowing behind, taking his portrait outside her house in Eaton Square in July 1855. She later used her considerable photographic skills to raise money for widows and orphans of the Crimean War. There is evidence in the album of female members of the family assisting him in his work – one caption for example notes that a portrait of Julia (possibly Julia Ponsonby) was taken by Arthur but printed by Barbara (possibly his sister Selina Barbara Ponsonby). Also of note in the album is the programme for the first distribution of the Victoria Cross in 1857 and much royal memorabilia.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
ROYALTY - PHOTOGRAPHYWILDING (DORORTHY) George VI; Elizabeth, his consort, a pair of portraits, half-length, George in Naval uniform, Elizabeth in evening dress, white fur stole and tiara, gelatin silver prints, mounted, framed and glazed, SIGNED BY THE SITTERS ('George R. 1949' and 'Elizabeth R. 1949') on mount, images approx. 208 x 150mm., 1949--CECIL (HUGH) Edward, Prince of Wales, seated half-length, bromide print, some marginal fading, mounted (spotting to mount), SIGNED BY THE SITTER ('Edward, 1926') on the image, image 180 x 135mm., 1926--VAN DYK. GEORGE VI, as Prince Albert; Prince Henry, Duke of York, a pair of portraits, gelatin silver prints, mounted on card, SIGNED BY THE SITTERS ('Albert 1922', and 'Henry 1922') on the mount, images approx. 180 x 122mm., 1922--WRIGHTSON (HAY) Prince George, Duke of Kent, head and shoulder portrait, bromide print, mounted on card, SIGNED BY THE SITTER ('George 1925') on the image, and by the photographer beneath image, image 198 x 140mm., 1925--Portrait of Princess Mary, daughter of George V, seated, by an unknown photographer, bromide print, mounted, glazed and framed, SIGNED BY THE SITTER ('Mary 1918') on the image, image 198 x 150mm., 1918 (7)For further information on this lot please visit Bonhams.com
ROYALTY - QUEEN VICTORIA & PONSONBY FAMILYTwo autograph letters from Queen Victoria, the first written in the third person to Sir Henry Ponsonby, Queen Victoria's Private Secretary, thanking him for the two photographs '...which she values much... The Queen remembers her journey with Lord & Lady Bathurst nearly 50 years ago...', 2 pages on a bifolium, on mourning paper, some small tears and remains of guard where previously mounted, 8vo (178 x 115mm.), Osborne, 25 February 1877; the second signed ('VR'), to Mary Ponsonby, sending commiserations on her son's illness and asking about his temperature ('...How high has it been & how much does it rise at night?...'), ending with expressing her distress over her nephew Victor Hohenlohe, 3 pages on a bifolium, on mourning paper, slight wear, 8vo (178 x 115mm.), Balmoral Castle, 4 November 1891; with autograph letter signed ('Albert Edward') to Lady Ponsonby, suggesting a portrait of Sir George Elvey organist of St. George's Chapel, Windsor be commissioned to mark his retirement, and offering to subscribe, 3 pages on a bifolium, affixed to an album leaf, 8vo (180 x 110mm.), Sandringham, 1 December [18]82; and an album, dated '1891' compiled by Mary Ponsonby, containing signatures of family and guests ('Ethel M Smyth') at Albert Cottage, Panshanger, Osborne and elsewhere, photographs (including Queen Victoria crocheting and views of Osborne House), printed ephemera such as theatre programmes, invitations, press cuttings etc., 20 leaves, original cloth, worn, spine partly detached, folio (290 x 235mm.), May 1891 to July 1892; together with a group of some 55 letters from Henry Ponsonby to his son John ('My dear Johnny'), commenting on various issues of the day including politics and foreign policy, the Home Rule Bill, Egypt, the opening of the Imperial Institute, the Queen's trip to Florence ('... our Queen has always been very well received by the people who are very civil...'), activities at the Royal residences, the Duchess of Sutherland scandal ('...out of prison again...'), the wedding of the future George V, much on South Africa ('...these Africans are tough fellows...'), 170 pages, 8vo (185 x 119mm.), Osborne, St James's, Windsor Castle and elsewhere, 6 January 1893 to 11 January 1894; and a group of miscellaneous papers relating to the Ponsonby family including a typed copy report of the 1st Battalion Coldstream Guards action in the battle of Ypres, 21-29 October 1914 (quantity)For further information on this lot please visit Bonhams.com
THOMAS (DYLAN)The Map of Love. Verse and Prose, FIRST EDITION, INSCRIBED BY THE AUTHOR to 'Leo & John... from Dylan Thomas Oxford 1941' in pencil on the front free endpaper, frontispiece portrait, publisher's purple cloth, spine faded, 8vo, J.M. Dent, [1939]Footnotes:INSCRIBED WITH DYLAN THOMAS'S 'DRUNKEN SIGNATURE' for an Oxford University student. It seems probable that the book was signed when Thomas gave a talk at the English Club at Oxford in November 1941, an event hosted by Philip Larkin, who recalled Dylan at the event as a 'Hell of a fine man: little, snubby, hopelessly pissed bloke who made hundreds of cracks and read parodies of everybody in appropriate voices'.Provenance: Francis Leo Clark (1920-1998), ink ownership inscription 'Leo Clark, St. Pet. H., Oxon', dated 4 November 1941, inside upper cover, with loosely inserted ink label 'F.L. Clark'. Clark, later a barrister and circuit judge, was a student at St. Peter's Hall (now College), Oxford University in 1941 when this book was signed.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
ATHENAEUS OF NAUCRATISDeipnosophistae, in Greek, FIRST EDITION, edited by Marcus Musurus, Greek italic type, capital spaces with guide-letters, dolphin and anchor device on first and last pages, with blank leaf B10 of preliminaries (often lacking), some mostly light dampstaining, final leaf with device laid down, modern half calf over marbled boards, gilt lettered on spine [Adams A2096; Ahmanson-Murphy, 123; Renouard p.67; Vicaire 50], folio (304 x 108mm.), Venice, Aldus Manutius and Andreas Torresanus, August 1514Footnotes:EDITIO PRINCEPS OF THE EARLIEST SURVIVING COOKERY TEXT: a valuable source of information on intellectual mores of the classical world, 'magnifiquement exécutée' (Vicaire).The Deipnosophistae ('Banquet of the learned') is the only known work by Athenaeus of Naucratis, a Greco-Egyptian writing in the early part of the 3rd century AD. In it a variety of scholars are invited to dine at a banquet held at the house of Larensius, a wealthy book-collector and patron of the arts. They debate at length a wide spectrum of topics, notably food, wine and cookery (the work is an important source of Greek, Persian, Roman and Sicilian recipes, many of which would have been lost), homosexuality (an unusually candid portrait for the time), sexual mores in general, health, music and philology. Aldus had planned a Greek edition of the work soon after establishing his press, but only got as far as printing a one-page proof in his second Greek type, which was not used after 1499.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
ARIOSTO (LODOVICO)Orlando Furioso, 4 vol., in Italian, engraved portrait frontispiece, 46 engraved illustrations by Bartolozzi and others, after Cipriani, Cochin, Eisen, Monnet, Jean-Michel Moreau le jeune, and others, some foxing heavy in places, contemporary straight-grain morocco gilt, gilt dentelles, g.e., spines slightly sunned, light wear [Brunet I 438; Cohen-de Ricci 95; Gaskell 48; Ray French 64; Sander 44], 8vo (232 x 145 mm), Birmingham, John Baskerville for Pietro and Giovan Claudio Molini, 1773--JONES (INIGO) Designs of Inigo Jones consisting of Plans and Elevations for Public and Private Buildings, FIRST EDITION, 2 vol. in 1, engraved portrait on first title, vignettes on titles, 97 plates, numbered 1-73 and 1-63 (24 double-page and 5 folding) by Hulsbergh, Fourdrinier, Herisset and Cole, engraved folding perspective view of Whitehall Palace from the 1770 edition inserted as frontispiece, engraved head- and tail-pieces after William Kent, subscribers' list, lacking allegorical frontispiece and vol. 1 half-title, plate folds split and reinforced with tape, 3 plates detached at folds, small tears at margins [Fowler 162; Harris 385; Millard, British 34], period-style speckled half calf and marbled boards, age-toning, occasional light damp-staining and foxing, housed in cloth box, folio (452 x 280mm.), William Kent, 1727--WOOD (JOHN) Choir Gaure, Vulgarly Called Stonehenge, on Salisbury Plain, Described, Restored, and Explained, engraved frontispiece portrait, 5 engraved plans (4 folding), worming to frontispiece and first and last few leaves, age-toning and some soiling, later sheep, red morocco spine label, covers scuffed, 8vo (203 x 135mm.),Oxford, Printed at the Theatre, 1747--STURT (JOHN) The Book of Common Prayer and Administration of the Sacraments, FIRST EDITION, engraved throughout including portraits of George I and of the Prince and Princess of Wales, illustrations, list of subscribers, and text, ornamental borders, vignettes and ornate initials, minor age-toning and spotting, volvelle on p.v lacking pointer (as usual), contemporary tooled polished black calf, spine gilt in 6 compartments, gilt dentelles, g.e., shelf-wear, slight chipping to lower spine end [ESTC T141241; Griffiths 1717/1, variant 1], 8vo (194 x 122mm.), John Baskett, 1717--WOOD ([ELLEN] MRS. HENRY) East Lynne, 3 vol., second edition, some age-toning and foxing, small ink stain to title of vol. 2, contemporary half blue calf and marbled boards, morocco spine labels, extremities rubbed, especially spine [Sadleir 3333a], 8vo (192 x 126 mm.), Richard Bentley, 1861-62--LE SAGE (ALAIN-RENÉ) The Adventures of Gil Blas of Santillane, 4 vol., 24 engraved plates after Robert Smirke, title page of volume I loose, some foxing and offsetting, contemporary vellum with marbled paper onlays on cover, red and green morocco labels to spine, wear and some soiling to covers, large 4to (272 x 218 mm.), Longman, Hurst, Rees and Orme, 1809 (14)Footnotes:A group of books including the illustrated Italian-language edition of Ariosto (printed by Baskerville in collaboration with the Molini brothers, publishers in Paris, and numerous skilled artists and engravers from Paris and London), Inigo Jones's Designs... for Buildings, John Wood's 1747 work on Stonehenge, an ornate version of the Book of Common Prayer from the same publisher who produced the 'Vinegar Bible' of 1709, and the second edition of Ellen Wood's East Lynne, the best-selling novel of the nineteenth century.Provenance: First work, Stourhead Heirlooms Library (eagle head armorial symbol in gilt on spine); Mary S. Collins, bookplate. Second work, Avery Library (perforated stamps, blind-stamps to plates throughout, ink stamps on dedication leaf); purchased from Argosy, New York. Third work, purchased from Maggs Bros, pencil note. Fourth work, George Lake Russell (1802-1878), ownership inscription on first flyleaf ('George Lake Russell. This book was given to him by W. Cade at Riverhead, Jan. 30th 1813'). Fifth work, Mrs. Goldie, contemporary signature on title page. Sixth work, Claude Meeker [Ohio investment broker and diplomat, 1861-1929], bookplates; all with the bookplate of Robin Satinsky.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
G VENKATESH RAO, INDIAN, A TIGER, DATED 1913, oil on canvas, signed and dated lower right, framed Venkatesh Rao is best known for his depictions of Hindu deities, published as oleographs by the Ravi Varma Press. In 1922, he presented a portrait of King George V to the Prince of Wales and this is now in the Royal Collection (RCIN 406686). painting 40cm x 30cm, framed 50cm x 40cm Provenance: Collection of the late Peter Millett (1925-2016)
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