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Los 703
Miniatur: Bildnis Hans Heinrich VI. Graf von Hochberg-FürstensteinGouache. Unsigniert, verso betitelt. Um 1800. 10 x 7,5 cm. Hinter Glas17 x 14 cm. Fein gemaltes Portrait des Grafen (1768 Schloss Fürstenstein – 1833 Schloss Zützen) mit Ordensstern. Im verglasten Original-Rahmen des Empire aus Mahagoni mit Messing-Appliken Er war verheiratet, mit Anna Emilie von Anhalt-Köthen-Pleß (1770-1830). Der aus der Ehe hervorgehende Sohn Heinrich X. von Hochberg (1806 – 1855) war der erste Fürst Pleß, ein deutscher Standesherr und Montanindustrieller. Provenienz : Nachlass der Fürstin Anna Luise von Schwarzburg-Rudolstadt.
Los 24
Sir Stanley Spencer R.A. (British, 1891-1959)Mrs Linda Few Brown oil on canvas84 x 63.5 cm. (33 x 25 in.)Painted in 1958Footnotes:ProvenanceCommissioned by the sitter's parents in 1958, thence by family descent to the present ownerPrivate Collection, U.KExhibitedLondon, Royal Academy, Summer Exhibition, 2 May-16 August 1959, cat.no.106Literature'Our artists look at us - honestly', News Chronicle, 1 May 1959, p.4 (ill.b&w)'Academy portrait', Maidenhead Advertiser, 8 May 1959, p.9 (ill.b&w)Exh.cat., The Royal Academy Illustrated 1959, Royal Academy, London, 1959, p.19 (ill.b&w)Keith Bell, Stanley Spencer, A Complete Catalogue of Paintings, 1992, Phaidon Press, London, p.360, cat.no.433 (col.ill.)At the time of this portrait, Stanley Spencer had long been acknowledged as one of the leading British painters of the twentieth century. Famed for his imaginative figure paintings and biblical themes, often set in his home village of Cookham, he was also a distinguished war artist. His remarkable murals in the Sandham Memorial Chapel - presented to the National Trust in 1947 - commemorate his experiences in the army during the First World War. In both World Wars, he was a critically acclaimed official war artist. A versatile genius, he additionally painted a series of mesmerising landscapes and portraits. In his earlier years, the sitters in his portraits were frequently members of his social circle. Throughout his career he produced an outstanding series of honest and uncompromising self-portraits. In the 1930s he painted some startlingly intimate nude portraits of Patricia Preece, his future second wife, two of which were double nudes of the artist with Patricia. When he painted his then lover Daphne Charlton - Daphne 1940 (Tate) - he deliberately reduced her to tears each day to get, as he told her, and she recounted to me, some emotion into her face.In the 1950s, already a C.B.E. and R.A., he was much in demand as a portraitist, receiving commissions from various friends and patrons (the two often became synonymous). There was the added attraction of their likenesses being exhibited at the Royal Academy. Spencer responded particularly well to his female sitters, often showing them in a half-length format at home in a relaxed setting, as in this portrait of Linda Few Brown. This is one of Spencer's finest late portraits, and forms a striking image, in which the twenty-three year old Linda leans over the stable-style door, at the front of her house, Sherlocks, in the heart of Cookham Dean. Dressed informally, she seems very close to the viewer, as if about to speak. Linda and Peter Few Brown moved to Cookham Dean on their marriage in 1955. In the picture, her engagement and wedding rings are clearly visible. A few years later they moved again, to Primrose Hill, another house in the Dean. The format of a woman at a door or window has historical precedents, for instance in seventeenth century Dutch paintings such as Rembrandt's Girl at a Window (1645) (Dulwich Picture Gallery). In the oft quoted but presumably apocryphal account by an early owner, the French theorist Roger de Piles, Rembrandt was supposed to have placed the picture in his window, so that it was mistaken for a real girl. Spencer for his part painted a notably modern woman, but the effect is equally immediate. In this case, the pose was suggested by Linda's mother Dorothy Milling who with her husband Geoffrey commissioned the portrait; it was regarded locally as a wedding gift. Spencer wrote of the picture on Sherlocks notepaper to his dealer Dudley Tooth, in an undated letter: 'Mrs Milling is bringing in the portrait of Mrs Linda Few Brown. She has given me the cheque for it. It was to have been full of flowers & creepers but I was not able to manage [as he had been ill]. She wanted to pay me more but I insisted on two hundred & seventy five guineas. Doing the painting was a very enjoyable experience. It may be rather an interesting thing to frame. As it was Mrs Milling's idea that I should paint Linda leaning over the door, I think Mrs Milling has very good ideas. Yours ever Stanley'. Mrs Milling received a letter dated 17 March 1959 from Arthur Tooth and Sons, about arrangements for the collection of the picture from her London address, presumably for inclusion in the Royal Academy's Summer Exhibition. Spencer probably also enjoyed the fact that, at the first sitting at least, Linda offered him 'fresh cream cakes', which she understood he liked. She was a regular customer at a local bakery, and one day ordered cakes, explaining she had a 'painter' coming. Dennis Adams in the bakery assumed she referred to a decorator, and thought 'lucky old painter', but was surprised the following day when Linda returned 'followed by a little man with tousled hair, wearing a pin striped suit, which was covered in paint splashes, pushing an old black pram, loaded with painting gear'. Linda Few Brown later recalled that the sittings lasted a month. She normally gave Spencer a lift on her Vespa scooter from his home, Cliveden View in Cookham Rise, and back when the sitting ended. He would spend the day at work, so she also provided lunch. After the portrait was finished, she asked him to draw her corgi Soxy. He made two drawings with expert rapidity (see lots 25 & 26).Two photographs, annotated 'Sept 1958', show the artist standing at his easel on the path just outside the door. The partially completed canvas reveals that he focused on the sitter, probably starting as usual with the eyes, so as to position the head correctly on the canvas, before turning his attention to her surroundings. The head of the just over life-size figure is placed close to the top of the canvas. She wears a cardigan and rests her arms on cushions (probably essential for comfort), none of which appear in the final picture. Spencer was a master of composition, framing the sitter with architectural features and providing a view into the interior of the house. With his love of pattern, he has dwelt on lines and curves: contrasting the stripes of her top, and the grooves between the planks of the door, with the swirls of the intricate door knocker and the calligraphic depiction of her hair. The colours stand out clearly and shadow is treated with subtlety. The painting has not been seen in public since the Royal Academy's summer exhibition of 1959 - his final showing at the RA - where it was one of three works by Spencer. The other two were his Portrait of Kate Morrell (1959) and Boys' Garden (1957) (the area of Kate's garden where her sons played). The portrait of Linda Few Brown was singled out by the reviewer in the News Chronicle (May 1, 1959), who criticised many artists for depicting 'merely pretty girls', whereas 'Stanley Spencer has looked hard at Linda Few Brown'. The portrait was reproduced over the caption, THE 'GIRL WITH CHARACTER'. On 7 July 1959, not long after the portrait was on display, Stanley Spencer received his knighthood at Buckingham Palace from the Queen Mother. We are grateful to Carolyn Leder for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 41
Sir William Nicholson (British, 1872-1949)Still Life: Emile's Things signed and dated 'Nicholson/1912' (on the lower left of the mirror)oil on canvas92.2 x 71.4 cm. (36 1/4 x 28 1/8 in.)Footnotes:ProvenanceProbably acquired in the 1920s, or earlier, by the present owner's great auntPrivate Collection, U.K.The title of this unrecorded work by William Nicholson is the one used by the family in whose possession it has been since the 1920s, or earlier. 'Emile' was a dressmakers at 9 Hanover Square in Mayfair London, circa 1927-32, whose clientele was mainly debutantes and their mothers; the business was run by the vendor's great aunt. When and where she acquired the painting is not recorded – perhaps direct from the artist as so far it has not been possible to find any exhibition or other references to this work, whose original title has yet to be discovered.The handling of paint is typical of Nicholson at this period who so evidently enjoys the challenge of depicting surface textures and reflective surfaces. There is a dramatic use of light and shade, together with an equally exciting palette of orange, red and turquoise. The work is particularly interesting as part of Nicholson's search to find a rational for his increasingly large still-life's, and several motifs link it to other works of the period, such as the inclusion of a reflected figure in a still-life as in the untraced Still Life, in the Studio of 1911 (Reed cat.237).The composition with a collection of garments and accessories in front of an oval mirror reflecting a female figure recalls the earlier Souvenir de Marie (Dublin City Art Gallery, The Hugh Lane) of 1906. This was presented by the artist to Sir Hugh Lane with a dedication in 1912, the year in which the present work was executed. It is possible that Lane may have encouraged Nicholson to revisit the subject, here treated on a larger scale and in portrait rather than landscape format, but featuring the same black framed oval mirror. There are fewer items here, whose varied textures are skilfully depicted: a black felt hat with feather and a plaited leather band rests on the pale cream fur lining of a coat with an arm hole opening just discernible. Adjoining is the embroidered white lining of the turquoise silk garment to the right – perhaps an opera coat. A pair of ladies red leather walking shoes, made for a slender foot with an elegant French heel, are standing on the turquoise silk. A disconcerting position, while even more startling is the juxtaposition of the orange organza scarf behind. This is the development of a device that Nicholson had used the previous year in The Black Vase (Bradford Art Gallery) where yellow silk provides a single note of colour. The dried seed heads known as honesty, here in a slender glass vase with another spray resting against the mirror, also appeared in the three other works dating from 1911: The Black Vase and The Chinese Vase both in Bradford Art Gallery, and Honesty in a Staffordshire Jug.Nicholson's prominently displayed signature on a piece of paper tucked into the frame of the mirror can likewise be related to Souvenir de Marie - in the latter there is a label in a more conventional location, foreground right. The reflection of the label in the mirror suggests that this is a black mirror rather than the usual silver-backed one. Black mirrors appear in several still-life's of the period, for example China Figures and Black Mirror (Private Collection) of 1909.Although it was primarily colour and texture that dictated their selection, it is possible that whereas the garments in the Dublin painting are all historic or theatrical costumes, those depicted here are contemporary ones. The woman reflected in the black mirror is wearing contemporary evening dress, but in contrast to the opulence of foreground fabrics her gown is sketched out in white. The artist's interest is obviously more in the garments rather than in the woman, which must be evidence that this is not a portrait. There is also the somewhat imperious look on her face, half lost in shadow. (She has after all usurped the viewer's position in the mirror.) In this same year Nicholson painted the untraced Equestrian Portrait: The Lady in Green (Reed cat.254): a reviewer, Sir Claude Phillips, commented that the sitter regarded the onlooker 'with something that nearly approaches a sneer'. This is most unlike Nicholson and might suggest that he was having difficulties with female sitters at this time. The artist's gift of the Souvenir de Marie to Lane was in part thanks for securing him a major commission in 1912, the portrait of Lady Phillips (Johannesburg Art Gallery). Any other link to this commission would be purely speculative, and the woman in the mirror bears no physical resemblance to Lady Phillips. No doubt several portrait commissions before World War I were abandoned – the details of which are now lost – as female sitters proved difficult and unreliable, unlike the beautiful objects in the still life.The canvas bears the Chenil Gallery stamp found on several of Nicholson's canvases dating from the period 1909-1921. The gallery, which was near the artist's studio in the King's Road, Chelsea, sold artist's materials.We are grateful to Patricia Reed for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Los 45
Henry Lamb (British, 1883-1960)Self-portrait oil on canvasboard50.5 x 40.5 cm. (19 7/8 x 15 7/8 in.)Footnotes:ProvenancePrivate Collection, U.K.The present work appears to be contemporaneous to Lamb's self-portrait of 1950 in the collection of the National Portrait Gallery, London.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 57
Dame Elisabeth Frink R.A. (British, 1930-1993)Lying Down Horse signed and numbered 'Frink 4/6' (on the left flank) and stamped with foundry stamp (on the underside)bronze with a dark brown patina43 cm. (17 in.) longConceived in 1975Footnotes:ProvenanceWith Beaux Arts, London, where acquired by the present ownerPrivate Collection, U.K.LiteratureJill Willder (ed.), Elisabeth Frink Sculpture Catalogue Raisonné, Harpvale Press, Salisbury, 1984, pp.184-5, cat.no.217 (ill.b&w, another cast)Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.129, cat.no.FCR245 (col.ill., another cast)Amongst the most familiar of Frink's motifs, the examination of horses dates back to her earliest works of the 1950s, however it is the equine subjects which dominated her output between 1969 and 1985 that receive the highest acclaim.'This is Frink at her most relaxed. She knew everything about horses, and had the ability to sculpt them with both broad consequence and, at the same time, exacting precision. This accounts for their strength and agility. There's hardly any detail, but they are so alive that you expect one at any moment to flick a fly away with the swish of its tail or shake of its head.' (Julian Spalding, in Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.18).Following a move to the south of France in 1967 Frink became fascinated by the Camargue horses, a wild and ancient breed indigenous to the region. These horses suited her purpose far more than those she had previously been familiar with as a keen rider in her youth. She elaborates; 'The horse sculptures are nothing to do with the horse you see here in England – the hunter, the show horse, the race horse. They're much more to do with the ancient spirit of the horse and with its evolution in relation to Man. The animals I make are far more what I feel for them than what they are in real life. I'm imprecise about the muscles... I'm much more interested in the spirit of the animal. I get into the inside of the animal and the outside takes care of itself (Edward Lucie-Smith and Elisabeth Frink, Frink, A Portrait, Bloomsbury, London, 1994, p.50).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 43
Circle of FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos, Zaragoza, 1746 - Bordeaux, France, 1828)."Portrait of Charles IV.Oil on canvas. Re-retouched.It presents repainting, old restorations and a Carlos IV style frame from the end of the 19th century with damages.Measurements: 126 x 94 cm; 145 x 113 cm (frame).Dressed in a maroon silk suit, embroidered in silver, the monarch holds the command staff of captain general with his hand, barely visible in the composition, while he rests the other on his waist. The cross and the sash of the Order of Charles III, as well as that of San Gennaro of Naples, hang glittering above his costume. The golden fleece can also be seen. Next to the monarch, an ermine-skinned table supports the royal crown, which is the only element outside the figure of the monarch. The work follows the aesthetic models imposed by Francisco de Goya, who painted several portraits of the monarch. The painting is a reflection of the picture painted by Goya in 1789, which belongs to the Museo del Prado collection and is called Carlos IV de Rojo.It was conceived as a companion piece to the portrait of Queen consort Maria Luisa, both commissioned by the Academy in March. It was Jovellanos who entrusted the task to Goya who, as a court painter, produced several versions of the works. In this particular case, despite the similarities with the Prado work, certain differences can be recognised. Firstly, the large green curtain in this case is reduced to a kind of curtain, where the colour is spread evenly, thus avoiding the marked folds. Furthermore, in this case, the monarch carries the baton of command and a highly decorative waistcoat.Charles IV was King of Spain and of the Spanish Empire from 1788 to 1808. The Spain inherited by Charles IV showed few signs of instability, but during his reign, Spain entered into a series of unprofitable alliances and his regime constantly sought cash to meet the demands of war. His son and heir, Ferdinand, led the failed Conspiracy of El Escorial and subsequently forced Charles to abdicate after the Tumult of Aranjuez in 1808, along with the dismissal of his prime minister Manuel de Godoy. Summoned to Bayonne by Napoleon Bonaparte, who forced Ferdinand VII to abdicate, Charles IV also abdicated, paving the way for Napoleon to place his older brother Joseph Bonaparte on the Spanish throne. However, Charles IV's reign proved to be an important turning point in Spanish history.
Los 62
Atelier of FRANÇOIS HYACINTHE RIGAUD (Perpignan, 1659-1743)."Portrait of Marie Casimira.Oil on canvas.Size: 130 x 104 cm.The psychological capture of deep character in the look, the point of view represented in the scene, the sumptuousness in the details of the clothes and objects, and the use of the colours between lights and shadows allow us to place the author of this work in an environment close to the school of the great French painter Hyacinthe Rigaud (1659-1743), one of the best portrait painters associated to the era of Louis XIV. He made an outstanding contribution to French painting from 1688 onwards. He was particularly noted for his portrait art, depicting members of the French royal family. Notable, for example, is his famous state portrait of "Louis XIV at Coronation Robes" (1701, Louvre, Paris), one of the finest Baroque paintings of the French court. Rigaud's broad, vigorous style and the way he relied on the nobility of posture and splendour of his models were the basis of his success. Indeed, he is the creator of an original genre, that of the "portrait of pomp" which spread through the European courts of the first half of the 18th century. Examples of his great output can be seen in some of the finest art museums in Europe and North America. For details of other famous artists and master craftsmen active in France during his day, see: French Baroque Artists (c.1600-1700) and French Decorative Designers (c.1640-1792). The pictorial quality of the work is superb. It shows great mastery of the portrait genre. It is thought to have been executed in Rigaud's own workshop, which, due to the multitude of royal and noble commissions at the time, had a large number of artists in its employ who worked on the completion of these portraits. Marie-Casimira Louise De La Grange was known by the nickname of "Marysie?ka". She was born in Nevers (centre of France) on 28 June 1641 and died in Blois (France) on 1 January 1716.) She was Queen consort of Poland and Grand Duchess consort of Lithuania as the wife of John III of Poland from 1674 to 1696. She was the daughter of Henri Albert De La Grange d'arquien and Françoise de La Châtre.
Los 1
ART HISTORY - GIMPEL FAMILYTwo photograph albums recording the lives, homes and art collection of the Gimpel family of art dealers, containing approximately 150 gelatin silver prints in total (approximately 88 being 80 x 80mm., the others various sizes up to 170 x 230mm.), those in the later album mostly captioned on mounts in white ink, contemporary cloth, rubbed, the later album contents loose, 4to, c.1898 and 1930s (2)Footnotes:René Gimpel (1881-1945) was an influential Parisian art dealer with galleries in Paris and New York City. His father, Ernest (1858-1907), operated E. Gimpel & Wildenstein in New York from 1902-1919.The earlier of these two albums records Gimpel family holidays in 1897 and 1898 in Trouville-sur-Mer, Calvados, where Ernest's gallery had an annex. Various members of the Gimpel family appear at the beach and on the promenade, as do some early motorcars, a bicycle race, a fire engine, and horse races.The later album has the visiting card of Odette Bourdillon pasted in, annotated 'En souvenir de la Rue Spontini 19, Paris' - the hôtel particulier which was home to René and his family. In photographs of the house's interior can be seen: Greuze's portrait of La Marquise Madeleine Barberie de Courteilles (Herzog Anton Ulrich-Museum, Brunswick); an eighteenth-century Coromandel folding screen, looted from Paris by the ERR and restituted on 11 May 1948; landscapes by André Derain from the D.-H. Kahnweiler collection; in the Louis XVI drawing room Monet's Artist's Garden at Vétheuil (NGA, Washington), along with in other rooms his La Barque Rose (private collection), Les Peupliers (Fitzwilliam), and some waterlilies; Angel Zarraga's portrait of Ernest Gimpel; a group of saints by Puvis de Chavannes; a female portrait by Jean Marc Nattier; a pair of Boucher Cupids; a ruin by Hubert Robert; and an arch-topped Corot, amongst others. Family photos show René's wife Florence (née Duveen) show-jumping in the Grand Palais and in Le Touquet in the mid-to-late 1920s, Florence and her sister Eveline (Eva) in the garden of Rue Spontini, Florence's bedroom, another home in rue de Grenelle, yet another in rue de l'Université (dated June 1934), and hunting excursions.Some of Gimpel's business records are held by the Archives of American Art, Smithsonian Institution, whilst family papers are in the archives of Gimpel Fils, the London gallery founded in 1946 by René's sons.For further information on this lot please visit Bonhams.com
Los 104
PARKINSON (JOHN)Theatrum Botanicum: The Theater of Plants or, an Herball of a Large Extract, FIRST EDITION, additional engraved allegorical title by Marshall incorporating portrait of the author, approximately 2600 woodcut illustrations, additional title, printed title and final leaf of index laid down (a woodcut portrait of the author pasted onto blank verso of additional title, the printed title with old tear neatly repaired), lacking errata leaf (supplied in facsimile) and opening blank, upper corner of pp.537/8 torn away with part loss of pagination numeral, small hole touching letters on 3 leaves, later calf, neatly refurbished and rebacked retaining original spine and later gilt morocco lettering label, new endpapers [ESTC S121875; Henrey 286; Hunt 235; Nissen BBI 1490; Pritzel 7749], folio (340 x 220mm.), Thomas Cotes, 1640This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 121
TARLETON (SIR BANASTRE) – COMMONPLACE BOOKAutograph poem signed 'Banastre Tarleton' and dated 'January 1825' entitled 'Susan's Abode', comprising eight lines on his house in Lintwardine beginning 'The young, the old, the poor combine, To welcome thee to Lintwardine...' and illustrated by a pen and ink sketch of the house, written in a commonplace book dedicated to 'To/ The Lady Willoughby/ from/ Banastre & Susan Tarleton', with ownership inscription 'Priscilla Tarleton', containing poems and other writings in several hands including that of Susan Tarleton and Banastre Tarleton, a number of verses and illustrations initialled 'B.T.' including a tribute to the late Robert, 4th Duke of Ancaster and Kesteven ('...An eye witness of his conduct in America submits this inadequate testimonial to the noble family of Grimsthorpe Castle...'), also including tributes to Lady Willoughby and the Marchioness of Cholmondeley, 'An acrostic written in a storm on the 8th of February 1816... to the Baroness Willoughby de Eresby, on her birthday...', 'Lines supposed to be written at Waterloo', 'To Lady Tarleton', 'On Women', interspersed with historical notes on the great deeds of the Willoughby family and copies of verses by Byron, Burns, Lady Caroline Lamb, Moore, Scott, Mary Tighe and others; illustrated throughout with some 50 pen, ink and watercolour illustrations and delicate vignettes by the Tarletons to complement the verses, including a decorative floral and foliate frontispiece dedicated to Lady Willoughby depicting her portrait surrounded by putti holding the accoutrements of the Arts, c.130 leaves (c.40 blank), watermark W Turner & Son, a few minor tears and offsetting, contemporary russia blindstamped and gilt with etched brass clasp, silk endpapers, g.e., rebacked preserving original spine, 4to (225 x 180mm.), c.1820'sFootnotes:'THE YOUNG, THE OLD, THE POOR COMBINE, TO WELCOME THEE TO LINTWARDINE': A fine commonplace book of verses and drawings, a joint collaboration between Sir Banastre Tarleton (1754-1833), notorious army officer and politician, made infamous through his exploits in the American Revolutionary Wars as leader of the 'Tarleton Raiders', and his wife Priscilla Susan Bertie Tarleton (1778-1864), fondly dedicated to Priscilla Tarleton's aunt Lady Willoughby,Banastre Tarleton married Priscilla Bertie, the wealthy illegitimate daughter of his friend Robert Bertie, 4th Duke of Ancaster and Kesteven and 20th Baron Willoughby de Eresby (1756-1779), after a whirlwind romance in 1798. After having gambled away his inheritance, Tarleton had purchased a commission in the 1st Dragoon Guards and served with Bertie during the occupation of Philadelphia in the American Wars of Independence, where his ruthless reputation earned him the sobriquet 'Bloody Ban'. When Bertie died young at the age of 22, the young Susan was taken in by her paternal grandmother, Mary Bertie the dowager Duchess of Ancaster and Kesteven at Grimsthorpe Castle. A sketch of the castle accompanied by a verse titled 'An Epilogue' comprises the first item in the book. The couple met in 1798 at Houghton Hall in Norfolk then, as now, the seat of Lord Cholmondeley, Susan's uncle by marriage, and were married three months later. Well-educated, pretty, accomplished in drawing, music and languages, reckless in many ways but disapproving of drinking and gambling, she was a vivacious and popular member of London society. Her marriage to the virtually penniless soldier older than her own father and with a notorious reputation raised many eyebrows at the time but their thirty-five year marriage stood the test. She accompanied him to Portugal, Ireland and throughout postings in England until his retirement and they ended their married life at Leintwardine in Herefordshire, which features several times in our book as an earthly paradise ('...A ray of heav'nly light is thine, Seen in thy works at Lintwardine...'). Their fondness for each other is also evident in several of the verses –- in 'To Lady Tarleton' he writes 'By ambition tormented, by fortune sore crossed/ Without little Sue, I had paradise lost/ Although deep sunk in debt, yet my fame was unstained/ And winning Sweet Susan, I paradise gained/ B.T.', but a flash of the old rake is still evident in his verse 'On Women' - 'You are stars of the night, you are gems of the morn... Her smile is our need, or her bosom our pillow' he writes.As the ownership inscription shows, Susan Tarleton often varied the use of her names. Whilst official documents, including the parish records of her birth and marriage, give it as Susan Priscilla, she also used Susan or Priscilla, as in this volume. Her drawings are highly accomplished and she is also known to have contributed illustrations to be engraved for an anthology of Romantic poetry The Wild Wreath (1804) by Mary Elizabeth Robinson, the daughter of her husband's ex-mistress Mary (Perdita) Robinson. Despite losing two fingers from a musket ball received in his right hand during the Battle of Guildford Courthouse in North Carolina, Banastre Tarleton also appears to have lent his artistic talents to our volume, with many illustrations initialled 'B.T.'. Our volume would appear to be presented to Susan's aunt, Priscilla Barbara Elizabeth Bertie (1761-1828) who became 21st Baroness Willoughby de Eresby in 1780 after her brother Robert's death. It contains many historical tributes to the Willoughby and Bertie families and references the family name in a finely-drawn frontispiece. Susan's other aunt Georgiana Charlotte Bertie (1764-1838) married George Cholmondeley, 1st Marquess of Cholmondeley at whose country seat she met her future husband. It was through this marriage that the Cholmondeleys acquired the hereditary office of Lord Great Chamberlain which had been previously been held by Robert Bertie.Provenance: Private UK Collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 125
SHAKESPEARE (WILLIAM)The Works... Publish'd by Mr. Pope and Dr. Sewell, 9 vol., engraved frontispiece, portrait and 43 plates (one for each individual play), contemporary black morocco, sides with double gilt rule border and corner ornaments, ornate gilt panelled spines with red morocco labels, one or two slight chips to spine ends but a handsome set, 12mo, J. & J. Knapton etc. [vol. 2-9 J. Tonson], 1728This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 127
SHAKESPEARE (WILLIAM)The Works... with notes... by Mr. Theobald, 7 vol., engraved portrait, half-titles to volumes 2-7 (all correctly numbered, not present in volume 1), occasional soiling and light browning, stain to title of volume 7, contemporary calf, rebacked and recornered, polished spines with gilt-ruled compartments and red labels [Jaggard 499; Lowndes IV, 2259], 8vo, A. Bettesworth and C. Hitch etc., 1733This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 128
SHAKESPEARE (WILLIAM)The Works, 8 vol., engraved frontispiece to each play, a few leaves cropped at top, contemporary mottled calf, rebacked, with red morocco labels, J. Tonson, 1635 [i.e. 1735]; idem, 4 vol. only, another edition, without general title-pages, contemporary calf gilt, later red morocco spine labels, J. Tonson, 1735; The Works... by Mr Theobald, 8 vol., engraved portrait and frontispieces to each play, modern buckram with red leather spine labels, J. & R. Tonson, 1767, 12mo (20)Footnotes:The first set is one of those with all the general titles dated in error 1635. This edition, which was used for sale at the theatres and for supplying pedlars, has a separate title-page, frontispiece and pagination for each play.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 129
SHAKESPEARE (WILLIAM)The Works... Carefully Revised and Corrected by the Former Editions, 6 vol., engraved portrait, some foxing, contemporary calf gilt, red morocco spine labels, slight wear to head of spines, one or two joints starting, J. & P. Knapton etc., 1745; Twenty of the Plays... by George Steevens, 4 vol., a little light browning, contemporary calf gilt, covers with Holland House gilt armorial stamp, rebacked, spines slightly darkened, J. & R. Tonson, 1766, 8vo (10)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![GOYA Y LUCIENTES (FRANCISCO DE)[Caprichos], ninth edition, 80 etched plates with aquatint, printed on wove paper, mounted on](https://cdn.globalauctionplatform.com/8371dcd4-571c-4dd7-83f9-aeae010c756c/84d4750c-a2ab-4753-b894-aeae010cc0bb/468x382.jpg)
Los 13
GOYA Y LUCIENTES (FRANCISCO DE)[Caprichos], ninth edition, 80 etched plates with aquatint, printed on wove paper, mounted on guards, some foxing to margins throughout (occasionally heavy or straying within the platemark, but not affecting images), some worming in gutter margins, publisher's grey cloth-backed boards with portrait (plate 1) reproduced on upper cover, some staining, folio (sheets 343 x 244mm.), [Madrid, Calcografía Nacional, 1908-1912]Footnotes:A complete copy of the ninth edition. Harris describes this edition, which was limited to 180 copies, as 'well printed', and it is identifiable by the sheet size and 'thick, very stiff, absorbent, wove paper'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 133
SHAKESPEARE (WILLIAM)The Plays... Notes by Sam. Johnson, 8 vol., engraved portrait, contemporary tree calf, sides with gilt roll-tool border, gilt panelled spines with orange and blue morocco labels, 8vo, H. Woodfall etc., 1768Footnotes:Provenance: Eliza A. Asher[?], ownership signatures; bookplate of 'W.A.'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 135
SHAKESPEARE (WILLIAM)The Works, 8 vol., without portrait, contemporary calf, spines gilt with repeated heraldic tool and red and green labels, 8vo, Edinburgh, A. Donaldson, 1771Footnotes:Provenance: Sir Jacob Astley of Melton Constable, Norfolk, bookplates.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 137
SHAKESPEARE (WILLIAM)The Plays & Poems... by Edmond Malone, 10 vol. in 11, 2 engraved portraits and 6 plates, half-title in volume 1 only, occasional foxing, nineteenth century half calf, gilt panelled spines with green morocco labels, one or two repairs to spines, some covers rubbed, 8vo, H. Baldwin, 1790; The Plays and Poems, 11 vol., engraved portrait, nineteenth century green half morocco gilt, gilt lettered spine, 8vo, William Pickering, 1825; and 13 others (35)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 141
SHAKESPEARE (WILLIAM)The Plays... George Stevens... Notes... by Alexander Chalmers, 9 vol., half-titles, engraved portrait, contemporary tree calf, ornate gilt panelled spines with red morocco labels, 8vo, F.C. & J. Rivington, 1805This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 143
SHAKESPEARE (WILLIAM)The Plays and Poems, 11 vol., engraved portrait, frontispieces and plates on india paper, some offsetting from plates, contemporary red straight-grained morocco gilt, sides with elaborate roll-tool borders, ornate gilt panelled spines with tooled bands, g.e., small scratch to spine of volume 5, 8vo, William Pickering, 1825Footnotes:The 'Wreath edition', containing the attributed plays and Samuel Johnson's classic preface.Provenance: B. Hurlock; Thomas B. Lennard (1847); A.C. Steele (1872), signatures on title-page of volume 1.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 144
SHAKESPEARE (WILLIAM)The Plays... George Stevens and Edmond Malone... Notes... by Alexander Chalmers, 8 vol., engraved portrait (this and title browned), full calf by Hayday, sides with double gilt rule borders, ornate gilt panelled spines with red morocco labels, 8vo, Longman & Co., 1837This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 147
SHAKESPEARE (WILLIAM)The Works, 10 vol., number 673 of 1,000 copies on handmade paper, half-titles and portrait frontispieces, titles in red & black, untrimmed and unopened in red morocco-backed buckram, spines in gilt-ruled and lettered compartments, with blind-tooled raised bands, 4to, New York, Duffield & Co. and Stratford-on-Avon, Shakespeare Head Press, 1904-1907This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 151
HUMPHREYS (HENRY NOEL)Sentiments and Similes of William Shakespeare, first edition, one of 1000 copies, chromolithographed decorations throughout, with elaborate border decoration to first page of text, minor spotting and soiling, early ink inscription on first fly-leaf, original black papier-mâché binding with gold paper background, brown oval relief portrait of Shakespeare on upper cover and author's initials on the lower cover, rebacked with blind-stamped titling, gilt dentelles and edges, minor wear, solander box, 4to, Longman, Brown, 1851--[LANDOR (WALTER SAVAGE)] Citation and Examination of William Shakespeare, slight spotting, signature of the author loosely inserted, brown morocco by Tout with gilt decoration and tooling to covers, spine in six compartments with raised bands, gilt ornamental decoration and lettering, silk gold and burgundy patterned endpapers, inner gilt dentelles, 8vo, Saunders and Otley, 1834--[INGLEBY (C.M.)] Shakespeare's Century of Praise, FIRST EDITION, LARGE PAPER COPY, folding facsimile letter, contemporary manuscript inscription (Cornelius Paine) on first flyleaf and manuscript notes and receipt of purchase tipped in, bookplate of Robert Marceau, red crushed half-morocco gilt by Sangorski and Sutcliffe, gilt lettering and elaborate decoration to spine, g.e., slipcase, 8vo, Trubner and Co., 1874 (3)Footnotes:According to McLean, Victorian Book Design pp. 109-111, the very elaborate coloured title-page decoration can be counted as Noel Humphrey's finest work.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 157
PANKHURST (EMMELINE)Signature ('E. Pankhurst') in ink, on the letterhead of the Women's Social and Political Union, 120 x 195mm., framed with a portrait cabinet photograph of Emmeline Pankhurst by Turner & Drinkwater of Hull, 160 x 105mm., unexamined out of frame, overall size 270 x 400mm., c.1905; with a collection of six American pro- and anti-suffrage badges, comprising: three celluloid 'Votes for Women' pins in gold and one 'Votes for Women Patriotism' pin depicting the American flag and eagle; two celluloid anti-suffrage pins ('Opposed to Woman Suffrage', 'Vote No on Woman Suffrage'), paper manufacturers labels on reverse (Bastain Brothers New York, Whitehead & Hoag Newark, Brunt & Co San Francisco etc.), 20mm. diameter and smaller (7)Footnotes:Provenance: The Phyllis & Jim Bratt Woman's Suffrage Collection.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 172
CHURCHILL (WINSTON)Photograph of the 'Meeting of Commonwealth Prime Ministers. London, June 1953', SIGNED BY CHURCHILL, NEHRU and the 7 other sitters, gelatin silver print, captioned in black ink above, the signatures on sheet of paper (c.70 x 390mm.) pasted below, mounted, glazed and framed, the image 245 x 270mm., June 1953Footnotes:GROUP PHOTOGRAPH SIGNED BY CHURCHILL, NEHRU AND SEVEN OTHER COMMONWEALTH PRIME MINISTERS - Official group portrait of the Prime Ministers present at the Commonwealth Prime Ministers' Conference, hosted by Churchill at Downing Street in June 1953, immediately following from Queen Elizabeth's Coronation. Hansard noted that 'The Prime Ministers have met at a time of general rejoicing. The presence at the Coronation of representatives of all parts of the Commonwealth has illustrated the unity and the variety of the Commonwealth association of which Her Majesty is the Head. The discussions... demonstrated the concord which exists between all the Governments and peoples of the Commonwealth, despite their varying interests and circumstances, in their approach to the major problems of the world today...'. The other signees are Jawaharlal Nehru (India), Robert Menzies (Australia), Louis St. Laurent (Canada), Dudley Senanayake (Ceylon), Sidney Holland (New Zealand), Muhammad Ali Bogra (Pakistan), Sir Godfrey Huggins (Southern Rhodesia), and Daniel Francois Malan (South Africa).For further information on this lot please visit Bonhams.com
Los 195
KENNEDY (JOHN F.)Colour portrait photograph depicting John F. Kennedy sitting behind the Resolute desk in the Oval Office, by Robert LeRoy Knudsen, signed and inscribed in black ink on the mount to his brother-in-law Peter Lawford ('For Peter – who helped make this picture possible – with all of the best – Jack – '), light toning, slight discolouration to mount, image c.440 x 370mm., framed and glazed, overall 660 x 580mm., unexamined out of frame, Washington, [2 November 1961]Footnotes:'FOR PETER – WHO HELPED MAKE THIS PICTURE POSSIBLE': PRESIDENT JOHN F. KENNEDY'S GRATEFUL DEDICATION TO HIS BROTHER-IN-LAW PETER LAWFORD.Glamorous British actor Peter Lawford (1923-1984) married Kennedy's younger sister Patricia in 1954 and became a US citizen in 1960 in time to vote and campaign for his brother-in-law and the Democrats in the presidential election of the same year. Friends with the Rat Pack 'board members' Frank Sinatra, Dean Martin and Sammy Davis, Jr., he garnered their support for Kennedy and was instrumental in coaching Kennedy for his crucial debate against Richard Nixon. Lawford (affectionately known as 'brother-in-Lawford') therefore held a unique position at the intersection of politics and showbusiness, to the mutual benefit of both. It was through Lawford, via Sinatra, that Kennedy met Marilyn Monroe and he has been dubbed 'the man who kept the secrets' for his discretion and connections. Robert LeRoy Knudsen (1929-1989) served as the White House photographer during the administrations of five Presidents from Truman to Nixon. Among his most famous photographs were the series of John Kennedy, Jr. as a toddler in the Oval Office of May 1962, and he was also to take Kennedy's autopsy photographs a year later. A smaller copy of this photograph is held in the John F. Kennedy Presidential Library and Museum, accession no. KN.C19364, which confirms the date of the sitting and photographer.For further information on this lot please visit Bonhams.com
Los 20
IRELAND - JAMES IIlluminated letters patent creating Thomas Cromwell the Viscount Lecale, in Latin, signed at the foot by Francis Edgeworth, Clerk of the Hanaper, bearing historiated initial letter portrait of James I, alongside that of Charles, Prince of Wales and the late Anne of Denmark, the document bearing three decorative borders (at head and both sides); the portrait of the King showing him head and shoulders, crowned and in state robes, with an elaborate ruff and jewelled collar, a foliate background and the words 'Posui Deum adiutorem meum [I have appointed God as my helper] ano. Dom. 1625' around his head, the upper border with a portrait of Prince Charles showing him three-quarter-length bearing the staff of office with the Prince of Wales feathers and an eagle to his right and, above, a quote from Isaiah 'Arise ye princes, anoint the shield', the Royal arms flanked by the lion and the unicorn at the centre, flanked in turn by angels bearing standards and the letters 'I.R', to the right a portrait of the late Queen Anne of Denmark next to her hatchment, stippled background decorated with Tudor roses; the left hand border with a knightly figure bearing the shield with the cross of St George beneath the royal portrait, accompanied by the biblical quotation 'The grasse withereth, the floure fadeth but the worde of our God shall stand for ever', and two coats of arms beneath; the right hand border depicting the Duke of Brunswick on horseback carrying a shield and pennant, below is another biblical quotation 'They that waite upon the Lorde shall renue their strength: they shall lift up the wings as the eagles' above crossed anchors and a pennant inscribed with the motto 'JE MAINTENDRAY', two coats of arms below, stippled background, first line with heavy foliate decoration; the reverse with the large illuminated coat of arms of Thomas Cromwell surmounted by a helmet surrounded by ermine and a gold pelican pecking her breast, supported by red winged unicorns, above a contemporary certificate of enrolment in the patent office and docket 'A Patent for the honour of Viscount Lecale to Thomas Lord Cromwell & the heires male of his Body', the writing and decoration in pen-and-ink, illuminated in gilt, with green, red, blue and white washes, on vellum, pierced at the lower border where the Great Seal was originally suspended, overall dust-staining, creased where folded, some rubbing and smudging, areas of loss particularly to lower edge where folded, some show-through from coat of arms on reverse, minor tears at edges, c.700 x 780mm., Dublin, 12 November 22nd James I [1624]Footnotes:AN IRISH DEED BEARING PORTRAITS OF JAMES I, HIS SON CHARLES PRINCE OF WALES & HIS LATE WIFE ANNE OF DENMARK. The beneficiary of this grant, Thomas Cromwell, fourth Baron Cromwell (1595-1653), descendant of Henry VIII's eponymous minister, served in a military capacity in Ireland and was created Viscount Lecale, as shown here, in November 1624. The motto around of the head of the King dated 1625 may show that, whilst the body of the document was drawn up at the end of 1624, the intricate decoration was not completed until the following year. '...In 1625 Cromwell was given command of a regiment in Ernest von Mansfeld's abortive expedition to the Palatinate, raising men in his wife's lands in Staffordshire. He was a staunch supporter of the Stuart monarchy and in the civil war commanded a regiment of horse, being rewarded with the Irish earldom of Ardglass in April 1645. He was fined £460 after the war by parliament for his commitment to the royalist cause and retired to the old family estates in Rutland, dying some time before 26 March 1653 at Tickencote...' (David Grummitt, ODNB). The head-and-shoulders portrait of James derives from the full-length state paintings of this period by Paul van Somer (ours being in reverse, indicating that it was taken from an engraving). The document has been signed at the foot, as enrolled, by Francis Edgeworth, whose father had emigrated to Ireland under the patronage of Essex and who was founder of Edgeworthstown and ancestor of Richard Lovell and Maria Edgeworth. As Clerk of the Hanaper (named after the hamper in which such writs were originally stored), Edgeworth was responsible for making out and issuing writs under the Great Seal. Our deed stands at the head of a decorative tradition applying to the grant of Irish titles that was to flourish well into the eighteenth century.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 228
SWINBURNE (ALGERNON CHARLES)STAPLES (ROBERT PONSOBY) Portrait of Algernon Charles Swinburne, head and shoulders, oil on canvas, signed ('R. Ponsonby Staples') top left, approx. 610 x 500mm. (24 x 19.5in.), framed, [c.1900]Footnotes:Portrait of the poet Algernon Charles Swinburne (1837–1909) by Sir Robert Ponsonby Staples (1853-1943) whose works were first exhibited at the Royal Academy and the Royal Hibernian Academy in 1875. He 'made his name by a succession of group portraits of participants in late Victorian public events' (ODNB), the most famous of which is The Ideal Cricket Match, now hanging in the Pavilion at Lords Cricket Ground. An exhibition of his portraits, One Hundred Men and Women of the Time, as a souvenir of the century, was held in 1900, for which the current portrait was probably painted. A chalk portrait by Staples of Swinburne, in very similar pose, is held by the National Portrait Gallery, London.Provenance: Christie's, London, 20 November 1988, lot 156.For further information on this lot please visit Bonhams.com
Los 23
NAPOLEON BONAPARTEOrder signed ('Bonaparte'), as Général en Chef de L'Armée d'Italie, to the general of artillery, ordering him to units to Klagenfurt ('Claquefurth'); engraved République Française heading, with manuscript insertions, one page, dust-staining, spotting, ink stains, creases at folds, edges frayed, folio (290 x 235mm.), mounted on board, displayed on green velvet with an engraved portrait, framed and glazed, unexamined out of frame, overall 675 x 455mm., Klagenfurt, 'le 12 germinal an 5' (1 April 1797); with an autograph letter signed ('Eugene Napoléon') to the Duc d'Abrantès, notifying him that he has received a telegraph from the Empress Regent advising of the armistice with Russia and Prussia, one page, creased at folds, 175 x 200mm., displayed with an engraved portrait, framed and glazed, overall 340 x 485mm., unexamined out of frame, Milan, 11 June 1813 (2)Footnotes:NAPOLEON SENDS ORDERS FROM THE STRATEGICALLY IMPORTANT TOWN OF KLAGENFURT DURING THE ITALIAN CAMPAIGN.At the time of this order, Napoleon had managed to conquer most of northern Italy and was now turning his attention to the invasion of Austria. After defeating the Austrian army at the battle of Malborghetto on 23 March 1797, Napoleon followed the retreating Austrians army to Klagenfurt, from whence he hoped to easily march on Vienna. From there he wrote to the Archduke on 31 March with overtures for peace, not wishing to prolong the campaign any further. On 1 April, the date of our order, the French pushed back the Austrians culminating in the victory at Unzmarkt on the 3rd. Klagenfurt was captured in late 1797, forcing the Holy Roman Emperor to come to terms with the Treaty of Campo Formio in October, which effectively left Great Britain to fight the French alone.For further information on this lot please visit Bonhams.com
Los 232
WHITMAN (WALT)Leaves of Grass; Two Rivulets. Including Democratic Vistas, Centennial Songs, and Passage to India, together 2 works, AUTHOR'S PRESENTATION COPIES, inscribed 'William Minturn from the author' on the front free endpaper of each volume, 'Leaves of Grass' additionally SIGNED ('WALT WHITMAN') ON TITLE, 'Two Rivulets' with frontispiece of an ALBUMEN PRINT PORTRAIT OF WHITMAN SIGNED ('Walt Whitman 1878'), advertisement leaf at end of each volume, yellow endpapers, original cream half morocco, gilt morocco spine labels, spines age soiled and chipped at head, upper joint of 'Two Rivulets' slightly weakened [BAL 21412, 21413], 8vo, Camden, New Jersey, Author's Edition, 1876 (2)Footnotes:PRESENTATION COPIES INSCRIBED BY WHITMAN TO THE AMERICAN AUTHOR WILLIAM MINTURN. Whitman recorded in this daybook a meeting with Minturn in New York on 16 January 1878, during which they talked 'about Emile Zola of Paris, Dante Rossetti, Swinburne & O'Shaughnessy'. Minturn, whose Travels in the West had been published in 1877, had spent time in Paris (where he was to be buried at the famous Père Lachaise cemetery), meeting Zola who had expressed admiration for Leaves of Grass. Provenance: William Minturn (1853-1882), gift inscriptions from the author, and bookplate in each volume.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 4
BINDINGSSWIFT (JONATHAN) The Works, 17 vol., engraved plates, occasional spotting or toning, contemporary calf gilt, spines tooled in gilt with floral devices, green and black lettering/numbering labels, rubbed, 5 headbands chipped, corner of one cover nibbled, 12mo, C. Bathurst [-W. Johnston], 1765--GIBBON (EDWARD) The History of the Decline and Fall of the Roman Empire... A New Edition, 12 vol., engraved portrait, folding engraved map, bookplates of John W. Perrott, and T.L. Hichens, contemporary tree calf, spines tooled in gilt, rubbed, 8vo, T. Cadell Jun., and W. Davies, 1802 (29)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 43
BOCCACCIO (GIOVANNI)Urbano, title printed in red and black with woodcut portrait of the author, title shaved touching first word of title, thin trail of worming touching letters to opening 8 leaves, small ink stain to final 2 leaves [not in Adams], [Venice, Nicolo Zoppino], 1530--TERENTIANUS (MAURUS). De literis, syllabis, pedibvs, ac metris, woodcut device on title, large woodcut initial on opening leaf of text, section of fore-edge of title torn away (with loss to a few words of imprint and touching device, repaired with blank paper), small trace of worming in upper right corner touching letters on several pages [not in Adams], Venice, Mapheum Pasinum, & Franciscum Bindonum, December 1533--MONGITORE (ANTONINO) Monumenta historica sacrae Domus Mansionis SS. Trinitatis, small loss to head of spine, 4to, Palermo, J.B. Aiccardo, 1721, all later vellum, some soiling, unless otherwise stated all 8vo (6)Footnotes:Urbano is a suppositious work which, according to Sander, should be attributed to Giovanni Bonsignori.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 55
SOLORZANO PEREIRA (JUAN DE)Política Indiana... Dividida en seis libros ... todo lo tocante al descubrimiento, descripción, adquisición, y retención de las mesmas Indias, y su govierno particular, assi cerca las personas de los Indios, y sus servicios, tributos, diezmos, y encomiendas, half-title, allegorical engraved frontispiece including portrait of the author, printed title in red and black with woodcut printer's device (lion with cityscape in background), double column text with side-notes throughout, some browning, minor worming in margins of last few gatherings, eighteenth century pigskin, blind-tooled spine with red morocco label, soiled, folio, Amberes, Henrico y Cornelio Verdussen, 1703Footnotes:Second edition of this major source book for all aspects of South American Indian life and a handbook for the administration of the Spanish colonies, first published in 1648. In 1609 Solórzano had been sent to Peru by Philip III in order to document native southern american affairs. There he was given several important posts and after his return to Spain in 1627 he was rewarded with the position of Treasurer of the Council of the Indies.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 60
AGRIPPA (CAMILLO)Trattato di scienza d'arme, et un dialogo in detta materia, engraved title-page with portrait of the author, numerous engraved illustrations throughout (some double-page), woodcut initials and ornaments, without final blank, a few very small holes to title-page, 2 double-page plates shaved just within platemark of one margin, small loss (filled) to fore-edge margin of final 16 leaves just touching printed border of an illustration on 3 pages, recased in early limp vellum [Cockle 745; Thimm, p.4; Vigeant, p.25], 4to, Venice, Roberto Meglietti, 1604Footnotes:Third edition of an influential manual on fencing, first published in 1563 at Rome, by Camillo Agrippa (1520-1595), a Milanese engineer, architect, and mathematician. The fine illustrations of the Trattato show various positions in fencing (the fencers usually represented naked), and are usually attributed to Jan van der Straet (1523-1605), but sometimes to Michelangelo. Provenance: Capt. Torquato Poccianti, early ink ownership name at foot of title-page, dedication leaf and final page, with small ink stamp on title (touching printed area) and dedication leaf.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 61
ALFIERI (FRANCESCO FERDINANDO)La scherma, 2 parts in 1, FIRST EDITION, half-title, engraved pictorial title, engraved portrait of the author, 35 engraved illustrations depicting fencing positions (numbered 1-19, 21-31, and 33-37, but complete) [Thimm, p.6; Vigeant, p.26], 1640; La picca, e la bandiera, 2 parts, with separate title (dated 1638) to 'La Bandiera', full-page engraved armorial in part 1, 4 engraved portraits (the author, and Lodovico Vidman repeated in each part), 40 full-page engraved illustrations (12 of pikemen; 28 of flag men), 1641[-1638], 3 works bound in 1, woodcut ornaments and headings, later calf, spine tooled in gilt in compartments, red edges, slightly rubbed, small oblong 4to (150 x 195mm.), Padua, Sebastiano SardiFootnotes:Attractively bound set of three works by Francesco Ferdinando Alfieri, Master of Arms of the Accademia Delia in his native Padua, devoted to fencing, pikes and the art of the flag.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 69
FABRIS (SALVATORE)Scienza e pratica d'arme... verteutschte Italiansche Fecht Kunst, parallel Italian and German text, title printed in red and black, 2 full-page engraved portraits (including author), 109 engraved illustrations (mostly) of fencing positions in text, without final blank, some browning, short tear repaired with archival tape to pp.67/68, contemporary calf over boards, worn, neatly rebacked preserving most of original spine with later gilt morocco spine label [Cockle, p.249; Thimm, p.97], small folio (305 x 220mm.), Leipzig, Erasmus Hynitzsch, 1677Footnotes:A German translation, with parallel text in Italian, of Fabris' fencing manual, using the plates for the first edition, 'with the addition of one representing the monument erected to Fabris's memory in Padua his native town; and a portrait of a certain Heinrich, who seems to have patronised this reproduction of the great master's work' (Thimm).Provenance: Jack Gorlin, 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
Los 7
CORFU – COLONEL ARTHUR PONSONBYAlbum compiled by Colonel Arthur E.V. Ponsonby of the Grenadier Guards, stationed in Corfu, containing a collection of printed ephemera such as poems, menus ('A.P. begs to call attention to the sauce with this Dish. The note of interrogation infers a doubt as to their nature'), invitations, play bills (one on silk), songs, racecards ('Corfu Garrison Races!!/ Monday 11th June 1860'), concert programmes, notices of the Ionian Association, interspersed with pencil, pen and ink illustrations and watercolours of fellow soldiers, local characters and landscapes with some of Crimea and a portrait of Prince Kung ('chief commissy of the Emperor of China for signing the convention of Peking...'), Ponsonby's passport, various engravings, newspaper cuttings etc, the majority pasted in, others loose, 69 leaves, bookplate of Arthur Ponsonby, brown cloth, worn, 350 x 250mm., 1859-60; with twelve autograph letters signed ('Arth Ponsonby') to his mother Lady Emily Charlotte Bathurst (d.1877), some illustrated, describing his arrival in Corfu, with tales of life in the garrison ('It is the height of the season, occasional balls, dinners, opera & shooting party going on...'), earthquakes, sighting of a comet, starting up a newspaper ('...no politics or allusion to the Greeks, so they can not object to it...'), snipe shooting in Albania, news of the relief of Lucknow, harvest ('...Grapes just now are in abundance, but there has been a disease amongst them this year which will spoil the wine...'), a trip to Zante, yachting, local fairs ('...The women singularly ugly but wonderfully dressed...'), climate etc., 44 pages, 8vo, Corfu, Cologne, 1857 to 1859 (quantity)Footnotes:A snapshot of Victorian British army life abroad in a garrison largely engaged in ceremonial duties. Arthur Edward Valette Ponsonby (1827-1868) was the son of Major General Sir Frederick Cavendish Ponsonby (1783-1837), former Governor of Malta, and brother of Sir Henry Ponsonby (1825-1895), who became Queen Victoria's Private Secretary. He was commissioned into the Grenadier Guards, served in the Kaffir war and the Crimea, and was quartered in Corfu when Gladstone arrived on a special mission to investigate the unsatisfactory state of the Ionian Islands in 1858. He also started the garrison newspaper (mentioned in his letter here) and was aide-de-camp to General Sir George Buller, the Garrison Commander. In April 1863 he transferred to the Suffolk Regiment when '...One of his first innovations was a battalion journal, the East Suffolk Gazette, believed to be the first such publication in the Army...' (Suffolk Regiment Museum website) and organised the first Soldier's Industrial Exhibition in Dublin in 1864. He took the battalion to India where he introduced a range of activities to keep the soldiers active, no doubt inspired by his early days in Corfu. He died of cholera at Jubbulpore in June 1868. According to his great nephew, also Arthur, he was '...a very amusing, original and unconventional man... quite colourless in his letters, although he touched on questions of interest...' (Henry Ponsonby, Queen Victoria's Private Secretary, His Life from his Letters by his son Arthur Ponsonby, 1943, p.308).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 73
GIGANTI (NICOLETTO)Scola, overo teatro, nelquale sono rappresentate diverse maniere, e modi di parare, e di ferire di spada sola, e di spada, e pugnale, woodcut ornament on title, numerous head-pieces, full-page etched author's portrait and 42 etched plates showing various fencing techniques, foxing to fore-edge margin of opening leaves, occasional single spot but generally clean, modern purple calf antique gilt [Thimm, p.116; Vigeant, p.62], oblong 4to (170 x 240mm.), Padua, Paolo Frambotto, 1628Footnotes:Second edition of an influential treatise on the use of the rapier and the dagger by the Venetian fencing master Nicoletto Giganti, depicted in a fine portrait within a framework of arms and armour.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 74
GIRARD (PIERRE JACQUES FRANCOIS)Traité des armes, second edition, engraved portrait of the author by J. de Favanne, title printed in red and black, 116 engraved plates (8 folding, 2 with small area of colour added, some toning), contemporary blind-stamped calf gilt, marbled edges, worn [Thimm, p.117; Vigeant p.63], oblong 4to (220 x 235mm.), The Hague, Pierre de Hondt, 1740Footnotes:Finely illustrated treatise on fencing and the theory of the short sword, for use by the French army.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 75
GRASSI (GIACOMO DI)Ragione di adoprar sicuramente l'arme si da offesa, come da difesa, FIRST EDITION, woodcut device on title, full-page engraved portrait, 21 engraved illustrations, modern half vellum [Adams G1017; cf. Thimm, p.128, different imprint; Vigeant, pp.66-7], small 4to (205 x 150mm.), Venice, Giordano Ziletti, 1570Footnotes:Provenance: Captain F.H. Huth; Bath Library, bookplate and blind-stamp on 5 leaves; Bonhams, 27 March 2007, lot 392.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 80
MARZIOLI (FRANCESCO)Precetti militari, FIRST EDITION, half-title, engraved historiated title incorporating the arms of the dedicatee, full-page engraved portrait of the dedicatee Ferdinand Maria of Bavaria, 52 plates on 26 sheets, 11 only (of 16) full-page engravings in the text and 22 half-page or larger illustrations, lacks Bb2, Cc2, Gg1, Hh1 and the last 4 leaves, half-title and one leaf repaired, damp-staining throughout, modern half morocco by Woolstencroft of Warrington [Lipperheide 2086; Thimm, p.185], folio (360 x 250mm.), [Bologna, heir of Domenico Barbieri, 1670]Footnotes:First edition of an Italian seventeenth century military treatise, the plates of which depict positions for the handling of pike and musket, and a second series showing battle and marching formations.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
![[SCHMIDT (JOHANN ANDREAS)]Leib-Beschirmende und feinden trotz-bietende Fecht-Kunst, 84 full-page engraved illustrations (2 w](https://cdn.globalauctionplatform.com/8371dcd4-571c-4dd7-83f9-aeae010c756c/f6dc6e10-48c2-4088-a8b9-aeae01117002/468x382.jpg)
Los 92
[SCHMIDT (JOHANN ANDREAS)]Leib-Beschirmende und feinden trotz-bietende Fecht-Kunst, 84 full-page engraved illustrations (2 with some surface abrasion), lacking title, portrait and final 30 pages of text, pencil notes in blank margins, modern half morocco [Thimm, p.240], oblong 8vo, Nuremberg, Johann Christoph Weigel, 1713--Der Geoffnete Fecht-Boden, woodcut device on title, 10 engraved plates (a few shaved just touching printed border), woodcut ornaments and tail-piece, modern marbled boards [Thimm, p.42; Vigeant, p.137], 8vo, Hamburg, B. Schiller, 1706; and another German fencing manual (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 94
TAVERNIER (ADOLPHE)L'art du duel, ONE OF 60 COPIES 'sur papier du Japon', with the plates in 2 states, from an overall edition of 500, AUTHOR'S PRESENTATION COPY, inscribed to Auguste Sauphar, 16 March 1909 on the front free endpaper, plates printed in bistre and black and white, later half cloth over marbled boards, t.e.g., original printed wrappers bound in [Thimm, p.285], Paris, C. Marpon and E. Flammarion, 1885--DESMEDT (EUGENE) La science de l'escrime. Avec une préface de Max Waller un dictionnaire de l'épée et un guide des escrimeurs, FIRST EDITION, 15 photographic plates, half morocco gilt by Riviere, t.e.g., original printed wrappers bound in [Thimm, p.78], Brussels, Widow Monnom, 1888--CORDELOIS (-). Leçons d'armes... du duel et de l'assaut théorie complètes sur l'art de l'escrime, second illustrated edition, AUTHOR'S AUTHENTIFICATION SIGNATURE on verso of title, engraved frontispiece portrait and 28 plates, contemporary half red morocco, marbled edges, slightly rubbed [Thimm, p.66], Paris, J. Dumaine, 1872--HERGSELL (GUSTAV) Die Fechtkunst, FIRST EDITION, half-title, 22 plates, a few red pencil annotations in margins, publisher's pictorial cloth gilt [Thimm, p.134], Vienna, A. Hartleben, 1881--ESCHER (J. BAPTISTE) Anweisung zur Fechtkunst auf Hiebe in verhangter und steiler Auslage, FIRST EDITION, 18 engraved or lithographed plates, some spotting and browning to text, modern cloth, publisher's blue printed wrappers bound in [Thimm, p.93], oblong 4to, Freiburg, Groos, 1833--SUTOR (JACOB) Kunstliches Fechtbuch zum Nutzen der Soldaten, Studenten und Turner, fascimile of the 1612 edition, edited by J. Scheible, illustrations of fencing positions, light spotting, contemporary green morocco, lettered in gilt on the spine, rubbed [Thimm, p.167], Frankfurt, J. Scheible, 1849, unless otherwise mentioned 8vo (6)Footnotes:Provenance: First work, Auguste Sauphar, inscription from the author, dated 1909; second work, J.R. Garcia Donnell, Armand Massard, Jean Georgel, bookplates (the second and third 'fencing' plates); fourth work, Jean Georgel; fifth work, F.A. Gerlach, ownership stamp on endpapers.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 95
VEGETIUS RENATUS (FLAVIUS)De re militari libri quatuor, full-page woodcut portrait of the author on verso, some repairs to title-page resulting to small loss to printer's device and portrait and touching imprint date (date restored as 1538), small burnhole to 01, 1535; VALTURIUS (ROBERTUS) De re militari libris XII, small repair to fore-edge margin of final 9 leaves, 1534, 2 works bound in 1, both with printer's device on title and final leaf, numerous woodcut illustrations (many full-page), later vellum, old paper lettering label on spine [Adams V332, V226], folio (325 x 210mm.), Paris, Christian WechelFootnotes:Two finely illustrated celebrated military treatises, and the first works to be published by Christian Wechel in France.Provenance: Isaac Massa, ink ownership signature on first title; H.H. Boyd, 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
Los 97
WALLHAUSEN (JOHANN JACOB VON)Corpus militare darinnen das heütige Kriegswesen in einer perfecten und absoluten Idea begriffen und vorgestellt wirdt, engraved pictorial title, full-page engraved portrait, 38 double-page letterpress tables, later vellum, lettered on ink on spine, lacks ties [VD17 23:231180H], folio (300 x 200mm.), Hanau, for the Author, 1617; Kriegs-Kunst zu Pferd, engraved pictorial title (laid down with small losses to blank margins), 42 double-page engraved plates (of 43, one defective), damp-staining to plates, later calf-backed boards, worn, folio (305 x 195mm.), Frankfurt, W. Hoffmann for W. Fitzer, 1634 (2)Footnotes:Provenance: 'Frobenius Grafen im Helfenstein, Anno 1618', inscription at foot of title-page.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 224
Manner of Isaac Oliver Portrait of Queen Elizabeth I (1533-1603)inscribed 'Elisabeta D. G. Angliae Ch. V. Sichen fecit' (lower left and right)pen and ink with touches of watercolour on laid paper28 x 18cmProvenance:Walter Brandt and by descent to his grandsonThe present composition is closely based on a drawing of Elizabeth I attributed to Isaac Oliver in the Royal Collection. Since the present image is in reverse of the original design, it most likely derives from a later engraving of this subject.Believed to be 19th centuryDiagonal fold top left corner. Light toning and discolouration to the paper. Slightly loose in its frame. Framed 44 x 33cm
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