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Maurice MacGonigal, PRHA  (1900-1979) "Aran Folk," oils on canvas laid on board,  109 h x 163 w cms  (43" x 64"). (1)     Originally commissioned circa 1932 by Patrick and Ellen (Nellie) Rooney for 'Runnymede', the family home they built in Ballsbridge in 1908, this large painting by Maurice MacGonigal depicts a group of Aran Islanders, four adults and three children, standing against a backdrop of mountains and cottages. A large Arts and Crafts period house, Runnymede, at 22 Shrewsbury Road, had a baronial-style ?Minstrel?s Hall? which the family wished to decorate with murals portraying scenes of traditional life in the Aran Islands. When completed, MacGonigal?s Aran mural cycle, commissioned to celebrate a family wedding, was unveiled with a series of parties, one of which was attended by Governor-General James MacNeill and his wife Josephine. The paintings were hung at a high level in the hall, with MacGonigal emphasising both colour and form so they could be best read from a distance. In terms of style and composition, and also the reserved and dignified aspect of the figures, Aran Folk recalls the frescoes of Giotto or Masaccio, with MacGonigal employing the bright primary colours typically found in Renaissance mural cycles. The figures are depicted in traditional dress, which even during the artist?s lifetime was being replaced by modern clothing. To the right of the group is a donkey, while the grass and sky are treated with MacGonigal?s signature Impressionist brushwork. Although clearly in the realm of history painting, there is also a down-to-earth quality in Aran Folk, particularly in the depiction of two women engaged in an animated discussion. In the foreground is a neat wooden firkin, while the background feature a row of equally neat thatched cottages, set against a mountain range of intense blue. Also included in the Runnymede mural scheme was a similar composition Aran Folk, with Animals (private collection) depicting a group of men and women, with geese and sheep. Another canvas by MacGonigal, Woman at a Spinning Wheel, (exhibited Gorry Gallery, 1993) also formed part of the same ensemble, with the artist?s older sister Eileen modelling for the figure. Through works such as these, Maurice MacGonigal, who was from Dublin city, sought not only to portray traditional life in the west of Ireland, but also to create a ?national? school of painting, one that would embody the values of Irish Republicanism. Eventually, when Runnymede was sold, the murals were taken down and distributed amongst members of the family. The painting Aran Folk was inherited by the Rooney?s daughter Avice, who had married into the Meade family, and in turn passed to her grandson Edward Dundon in whose possession it remained until 2022.   Born in Dublin in 1900, Maurice MacGonigal was educated at Synge Street school before being apprenticed to his uncle Joshua Clarke, the stained-glass manufacturer. His cousin Harry Clarke also served his apprenticeship with the family firm. Encouraged by the Quaker republican Bulmer Hobson, MacGonigal enlisted in Na Fianna Eireann in 1916, and later became a member of the IRA, participating in raids during the War of Independence. Arrested in 1920, he was interned in Ballykinlar Camp, Co. Down, for a year. After his release, he went back to the Clarke studios, but soon left to take up a scholarship at the Dublin Metropolitan School of Art. Although he missed the years when William Orpen had beenvisiting tutor, MacGonigal did study under Patrick Touhy and Seán Keating, who had both been taught by Orpen, and carried forward his style of Academic Realism After a stay with the Van Stockum family in Holland in 1927, MacGonigal returned to Ireland, inspired by the paintings of Van Gogh, and greatly taken with the concept of landscape painting expressing a sense of national identity. During the 1930?s and 40?s, he did some of his finest work in the west of Ireland, depicting traditional Irish scenes and landscapes. The Meade commission inspired other group portraits: In 1933 MacGonigal was commissioned to paint a group portrait of the Ryan family at Kindlestown, and the following year completed what is perhaps his most outstanding work, Dockers, depicting workers standing beside a ship (Hugh Lane Gallery). In 1935 he painted a group of his friends, members of the art group ?The Radical Club?. Set in the life drawing room of the National College of Art, this painting, Studio Interior, is in the Limerick City Gallery. MacGonigal also designed sets for the Abbey Theatre, the Irish Hospitals Sweepstakes, and contributed illustrations to the Saorstat Eireann Handbook edited by Bulmer Hobson. In 1939 he was commissioned to paint a large mural, depicting Ireland?s contribution to American history, for the Irish pavilion in the New York World?s Fair. In this mural, his wife Aida served as the model for the depiction of ?America?. From 1924 to 1978, MacGonigal exhibited regularly at the Royal Hibernian Academy, serving twice as Keeper, and in 1962 was appointed President. He also taught at the National College of Art, where he was Professor of Painting from 1954 to 1969. A retrospective exhibition of his  work was held at the Hugh Lane Municipal Art Gallery in 1991. Dr. Peter Murray, 2022

 Seán Keating PRHA, (1889-1977) “Three Women,” c. 1972, approx. 53cms x 69cms (21" x 27"), charcoal, with black conté, highlighted with white gouacheAlthough the sitters in this triple portrait by Seán Keating have not been identified, it is likely that they are members of the same family, perhaps a mother and two daughters. The portrait was likely commissioned by people close to the artist, who admired his work and respected his contribution to Irish art in the twentieth century. Another possibility is that the drawing depicts actors from the Abbey Theatre: Keating regularly sketched and painted scenes from Abbey productions, including The Playboy of the Western World, and he also sketched Lennox Robinson directing a play. [Morgan O’Driscoll Dec. 2018]. In addition to this triple portrait, Keating sketched an individual portrait of the central figure (Whytes 2011). Traces of squaring-up remain on the paper, indicating this work was completed in the studio, with the artist working from individual sketches and photographs. Unlike many of his classic images, depicting farming and fishing families of the west of Ireland, with shrewd eyes and weather-beaten faces, the women depicted here radiate a sense of modern urban sophistication, and so this work can perhaps serve as a visual metaphor for Ireland during the twentieth century, when a transition took place from rural life to urban and suburban living. The central figure, a woman perhaps in her twenties, is glamorous, while the figure on the left—perhaps her mother—is older and appears more worldly-wise. Full of Keating’s characteristic expressionist vigour, this triple portrait is more than a sketch: the artist has used conté crayon over rubbed charcoal, suggesting colour in what otherwise would be a monochrome drawing, and has further highlighted the portrait with white gouache.Born in Limerick, John (later Seán) Keating initially studied at the Technical School in that city. Recognising his talent, in 1911 William Orpen arranged a scholarship for the young artist to the Metropolitan School of Art in Dublin. Keating visited the Aran Islands three years later, where he was inspired by the authenticity and simplicity of island life. The following year provided a complete contrast, where he worked in Orpen’s London studio as an assistant. He tried, unsuccessfully, to convince Orpen to return to Ireland, to document the momentous changes then taking place in society and politics. Keating himself did move back to Dublin, to teach at the Metropolitan School. Over the ensuing years, in a series of portraits and ambitious academic realist canvases, he documented the struggle for political independence. Although the unspoiled Aran Islands provided subject matter for many paintings, Keating also celebrated the industrialisation of the newly emergent Republic. He painted what he saw, and said what he thought, following the Realist tenet that art should not be separated from life. On his own initiative he decided to record the building of the Ardnacrusha Hydroelectric Scheme, realising that this massive engineering project would help bring prosperity to Ireland. His interest in progress was further revealed in a mural commissioned for the Irish pavilion at the 1939 New York World’s Fair. However, the public on both sides of the Atlantic preferred Keating’s more traditional subject matter. While Keating’s large allegorical works, such as Night’s Candles are Burned Out, are powerful, realist canvases, his watercolours and sketches reveal a delicacy and aesthetic quality similar to that of John Singer Sargent. President of the RHA from 1949-62, Keating was one of the key artists who defined visual culture in Ireland from the early to mid-twentieth century.

John Schwatschke, Irish, b. 1943  "Portrait de Dublin Art Foundry 1994," O.O.C., depicting a young Lady seated waring oversized jumper in a pottery studio, approx. 24" x 20" (61cms x 51cms), signed upper right, inscribed on reverse, painted black frame. (1)

John Butler Yeats, RHA  (1839-1922) "Portrait of a Young Gentleman seated", pen and ink, 50cms x 38cms (20" x 15"), mounted and framed. (1) Provenance:  The Yeats Family Collection (portfolio), at Fonsie Mealy's.

John Butler Yeats (1839 - 1922) "Portrait of a bearded Gentleman," pencil sketch, depicting a head and shoulders of a distinguished man seated, approx. 24cms x 17cms (9 1/2" x 6 1/2"), mounted and framed. (1) Provenance: The Yeats Family Collection (portfolio), at Fonsie Mealy's, 2017.

Augustus John, OM, RA, (1878-1961)   "Portrait of A Young Woman c. 1905,"  pencil on paper - 32 x 24 cms (12 ½" x 9½"). Sketched with Augustus John's customary bravura and flair, but also brilliantly controlled, this portrait in pencil depicts the head of a young woman, her wavy hair tied back. Through line and shade, sometimes pressing the point of the pencil against the paper, other times laying it sideways to create areas of shade, John has differentiated between the softness of the woman?s skin and the individual strands of her hair. The woman?s expression of slight haughtiness, or aloofness, is common to many of John?s portraits. His depictions of people, whether in pencil or oil paint are complex, often both idealised and down-to-earth, in a manner reminiscent of Rembrandt. The woman in this sketch may be his second wife Dorelia (Dorothy McNeill) and judging by its style is a relatively early work in his career.  Born in Tenby, Wales in 1878, Augustus John studied art at the Slade School in London where his teacher was Henry Tonks. His sister Gwen, who also studied at the Slade, became a well-known painter in her own right. Even as a student, John was considered the most brilliant draughtman of his time, and his portrait sketches and oil portraits, particularly of his family, are among his most highly-regarded works. He spent some time in Paris, then in 1901 took a teaching job at the University of Liverpool to support his growing family, which consisted of his wife the artist Ida Nettleship, his model (and lover) Dorelia McNeill, and several children. For a time the entourage lived and travelled in a gypsy caravan. Between 1910 and 1928, he had a house at Martigues in Provence. During WWI, John was commissioned as an official war artist, but a planned monumental canvas depicting Canadian soldiers remained uncompleted. During the 1920?s he became one of Britain?s leading portrait painters; among his sitters were T. E. Lawrence, Lady Gregory, Dylan Thomas and W. B. Yeats. He was a frequent visitor to Ireland during these years. Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin. Dr. Peter Murray, 2022

Sean O'Sullivan, R.H.A. (1906-1964) "Portrait of a Lady," Pastel, head and shoulders of Lady with short hair with pink shirt, approx. 48 x 33cms (19" x 13"), signed and dated lower right, mounted and framed, remnants of label on reverse.  (1)

Sir Frederick William Burton, RHA, (1816-1900)   "Portrait of a Woman and Child, probably Caroline Susan Gore-Booth and her son Henry  1840," Watercolour on paper  61cms x 46.5cms (24" x 18 1/4") Signed with monogram FWB and dated 1840 Framed within a Classical arch, this portrait depicts young woman and a child enjoying a tender moment together. Her hair coiffed into fashionable ringlets, the woman wears a velvet dress, with a cameo brooch fastened to the neckline. Leaning against the woman, and dressed in a mock-Elizabethan clothing, the child also sits in an attitude of happy contentment. The subjects of Frederick William Burton's portraits and genre scenes are generally shown absorbed in their own thoughts, unconscious of the wider world around them. The architectural settings in his paintings, often incorporating columns, staircases and grand windows, convey a sense of privilege. Embellished with foliate ornamentation carved into the stone, the arch in this painting is also home to ivy tendrils, that climb up the stone and hang from the top. The symbolism of this plant would not have been lost on people seeing this portrait when it was first exhibited. In the legend of Tristan and Iseult, popular in Victorian times, ivy binds lovers tightly together. The idea of nature providing a commentary on life, promoted by John Ruskin, was coming into vogue at the time this portrait was painted.   Born in Clifden House, on the shores of Inchiquin Lake near Corofin, Co. Clare, in 1816, Frederick William Burton was the son of a gentleman and amateur painter named Samuel Frederick Burton and his wife Hannah Mallet. When Frederick William was ten, the family moved to Dublin, partly in order that he could attend the Drawing Schools of the Dublin Society. Here he was taught by Henry Brocas and Robert West, and became friendly with George Petrie, who introduced him to the study of antiquarian remains in the Irish countryside. After the Drawing Schools, Burton began exhibiting at the Royal Hibernian Academy, showing Abraham on his Journey to Sacrifice Isaac in 1832 when he was just sixteen years old. At the age of twenty-one, he was elected an Associate of the RHA and became a full member two years later. Over the years, Burton painted many portraits of physicians, botanists, mathematicians and clergymen, and of Anglo-Irish families of the West of Ireland. In 1843 he showed at the RHA a portrait of the Galway physician, Sir Henry Marsh, along with portraits of the children of the Rev. William Guinness, of Ardcotton, Co. Sligo. In 1843 also, he showed a portrait of Henry Irwin, Archdeacon of Emly and two years later submitted a portrait of the family of Henry Irwin's grandson, Sir Robert Gore-Booth, of Lissadell House in Co. Sligo. Robert Gore-Booth is remembered both for his evictions and for his attempts to assist his tenants to emigrate to America.   The Gore-Booth family portrait by Burton (preserved at Lissadell House) depicting a woman reading to two young girls, is a tour-de-force in the representation of satin, velvet, lace and other textiles. In 1827, Gore-Booth had married Caroline, second daughter of Robert King, 1st Viscount Lorton, but she died a year later. After two years as widower, he remarried, this time to Caroline Susan, second daughter of Thomas Goold. Caroline Susan had one son, Henry, who succeeded his father as 5th Baronet. Based on the resemblance of sitters in the larger Gore-Booth family portrait, it is likely that the present watercolour is a portrait of Caroline Susan and her son Henry. The portrait has an added poignancy in that it was painted the same year as The Blind Girl at the Holy Well, and just a year before Burton?s masterpiece The Aran Fisherman?s Drowned Child, which depicts the harrowing scene of an island family mourning their lost child. Although he painted mainly members of the landed classes, Burton's privately-held political views are revealed in his friendships within Ireland's literary and academic world; George Petrie, Lord Dunraven, Eugene O?Curry and Sir Samuel Ferguson were all members of an intellectual elite that sought to develop a cohesive sense of Irish national identity. Between 1838 and 1841, Burton made several trips to the Aran Islands with George Petrie. In 1874 he was appointed Director of National Gallery of London, a position he held for twenty years, during which time he did not paint. He died at Kensington in 1900. His most famous work, Helehil and Hildebrand, or the meeting on the Turret Stairs, is now in the National Gallery of Ireland. Exhibited : The Beit Wing National Gallery at Frederic William Burton: For the Love of Art Exhibition, October 2017-January 2018. Dr. Peter Murray, 2022

Maud Gonne (1866-1953) "Self Portrait," c 1906 pencil and gouache on paper, approx. 24cms x 19cms (9 1/2" x 7 1/2"), framed. Depicting Gonne's head and shoulders, with voluminous hair, this drawing on light brown paper is also signed with initials 'M G', on the lower left. The drawing is highlighted with slight touches of red watercolour, accentuating the lips, and white gouache, to emphasize the eyes and nose. The drawing captures Gonne?s classical good looks and the soulful expression that so enraptured William Butler Yeats. These drawings, from the Yeats family collection, are almost certainly those referred to in letters written in 1905 and 1906 by Maud Gonne to William Butler Yeats. In late 1905, she wrote ?I am going to send you a little drawing of Iseult I have done . . It is Iseult with her hair twisted up for the bath, but is like her but makes her look older than she is.? (See Lot 81) In March 1906 she mentions another drawing: ?In my portrait I wanted to give the idea of a face that has outlived age and has no age.? [Anna MacBride White & A Norman Jeffares (ed.) The Gonne-Yeats Letters, (W. W. Norton NY, 1993); letters 165, 171; pp. 221-7] Evidently given as gifts by Maud Gonne to her long-time admirer W B. Yeats, the two drawings remained with the Yeats family for many years.   Born in Farnham, England in 1866, Maud Gonne came from family with connections to Co. Mayo. Her mother came from a wealthy family of wine merchants; her father, an army officer and later a diplomat, was stationed for a time in Ireland. Although her early childhood was spent in Dublin, on the death of her mother in 1871, Gonne was sent to boarding school in France and five years later, her father was posted there as a diplomat. Further postings followed, to India, and then in 1882 back to Ireland, where, influenced by evictions and the Land Wars, both father and daughter became politically radicalised. After the death of her father in 1886, Gonne lived in London with relatives, intending to become an actress. Having contracted tuberculosis however, she returned to France for treatment, where she met and fell in love with Lucien Millevoye, a right-wing journalist and politician. While she studied art in Paris, at the Academie Julian, and with Joseph Granié (1861-1916), few works by Gonne survive, although she did submit at least one work to the annual Salon exhibition. The two present drawings reveal the influence of Granié, a minor Symbolist artist from Toulouse, who often used tinted paper and depicted his sitters in profile (his portrait of Yvette Guilbert is in Musee d?Orsay).  Inheriting a fortune brought Gonne freedom: she travelled first to Russia, then returned to Ireland where she befriended the veteran Fenian John O?Leary, campaigned against evictions and worked for the release of political prisoners.   Courted by William Butler Yeats, who she met in January 1889 at Bedford Park in London, Gonne shared the poet?s belief in the existence of occult and spiritual worlds, but maintained that his creative talents were improved by her rejections of his proposals of marriage. She lived a life unconventional for the time, and the following year in Paris, having got back together with Millevoye, had a son, Georges, who died when a young child. Her second child Iseult, conceived for spiritualist reasons in the tomb of Georges, was born in 1894, but Millevoye and Gonne then separated. For many years Gonne did not publicly acknowledge Iseult as her daughter and thereafter focused on Irish nationalist causes, making a lecture tour of the United States, editing a short-lived newspaper L?Irlande libre, and setting up an L?Association Irlandaise in Paris. She was equally active in Ireland, and four years later founded ?Inghindhe na hEireann? or Daughters of Erin. Gonne was also one of the founders of the Irish National Council, which evolved into Sinn Fein. In 1902 she played the lead role in Yeats? play Cathleen Ni Houlihan. Back in Paris the following year, she disappointed Yeats by converting to Catholicism and marrying Major John MacBride. While they did have one son, Sean, their turbulent relationship attracted unfavourable publicity, and the marriage came an end when MacBride was executed after the 1916 Rising. Two years later, along with Countess Markievicz, Gonne was imprisoned in Holloway Prison, for pro-German activities. During the 1920?s she remained active in Republican politics; her house in Stephen?s Green was ransacked by Free State troops and she was imprisoned again for short periods. Like Yeats, she was an admirer of Fascism. Through the years of Gonne?s marriage and after, Yeats continued to worship her, regarding both her and Iseult as his creative muses, inspiring him to write poems and plays. Both women held him in high regard, but were unwilling to commit further. His 1893 poem ?The White Birds? was the first of many inspired by Gonne, while his ?To a Child Dancing in the Wind? (1914) was dedicated to Iseult, who six years later married the writer Francis Stuart. Gonne and her family lived in Dublin, at Roebuck House, Clonskeagh, until her death in 1953. Dr. Peter Murray, & Cian O'Hegarty, 2022

Maud Gonne (1866-1953) "Portrait of Iseult Gonne," c 1905 pencil and gouache on paper, approx. 22cms x 16cms (9" x 6 1/4"), framed. Signed with initials 'M G' on the lower right, this drawing on light brown paper depicts Gonne's daughter Iseult, aged around eleven. With bare shoulders and slender neck, head turned to the right and hair tied up, Iseult has a soulful expression. Using white gouache, Gonne has accentuated the beauty of her daughter's profile.

PANKHURST (EMMELINE)My Own Story, FIRST EDITION, portrait frontispiece and plates, publisher's cloth, slightly soiled, corners bumped, Eveleigh Nash, 1914--STRACHEY (RAY) 'The Cause'. A Short History of the Women's Movement in Great Britain, FIRST EDITION, plates, some spotting, publisher's brown cloth, slightly shaken, spine faded, remnants of Boots label on upper cover, G. Bell & Sons, 1928 --PETHICK-LAWRENCE (FREDERICK W.) Women's Fight for the Vote, FIRST EDITION, with 142pp., damp-stain to inner margins of first few leaves, publisher's blue pictorial wrappers, faded, stained and worn with loss at corners, The Women's Press, [1910]--DOWSON (MRS AUBREY) The Women's Suffrage Cookery Book, lacking p.43/44, p.63/64 cut down, chipped and loose, ownership inscription dated January 1910, publisher's cloth-backed pictorial boards, worn, corners defective, 4to, Women's Printing Society, [c.1909]--The Truth About My Friends, parlour game, each page with tipped-in printed slip lifting to reveal a self-criticism or 'truth' (one of them being ''My sympathies are with the suffragettes'), below which the participants have signed their name, front hinge slit, publisher's cloth, faded and with the lettering and design crudely inked in, Dow & Lester, [c.1910]--GROSS (EDWARD AUGUSTUS) and HOMER JOSEPH DODGE. Manual for Women Voters. Constitutional Government of the United States..., slightly browned, pencil notes on blank leaf at end, publisher's blue cloth, faded and rubbed at edges and spine, [New York, Federal Trade Information Service], 1922--WRIGHT (ALMROTH E.) The Unexpurgated Case Against Woman Suffrage, publisher's blue cloth, Constable, 1913, 8vo; and 7 others (14)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

POSTCARDS - CAMPAIGNING, PRISON, MEN AND POLITICSCollection of 49 postcards on 4 sheets, RPPCs, printed and humorous: sheet with 13 cards, mostly satirical, on life under arrest or in prison (including 6 colour-tinted photographic cards by Valentine & Sons, one birthday greeting card by McGill, 2 RPPC portraits and a printed portrait); sheet with 11 cards including 9 RPPCs of Christabel Pankhurst and others in the WSPU offices and out campaigning; sheet of 11 humorous cards depicting long-suffering husbands, all but one colour-printed or tinted; sheet with 14 uncoloured cards, political and humorous, printed by the Artists' Suffrage League or the Suffrage Atelier, loosely corner-mounted (49)Footnotes:The prison group includes a RPPC portrait of Edmée Manning ('Miss M.E. Manning, Women's Freedom League) in prison uniform, inscribed on the reverse 'Wishing you a happy Xmas & prosperous New Year. Edmée Manning. Harper Hill. Sale. Ches.' One of the campaigning RPPCs is taken outside The Women's Press building, and was sent to Miss Dixon, Upper Chawston, Nr. St Neots, Bucks, 'Would you like this (Thursday's) week's?'For further information on this lot please visit Bonhams.com

POSTCARDS - PORTRAITSCollection of 44 portrait and group postcards on 4 sheets, some signed by the suffragettes including Constance Lytton, Charlotte Despard, Mary Gawthorpe, Murial Matters and Edith How Martyn, some RCCPs and some printed, loosely corner-mounted (44)Footnotes:A fine group of portrait postcards of many of the leading figures in the suffragette movement.The subjects include Constance Lytton (signed on reverse as both Constance Lytton and Jane Walton, and inscribed in pencil 'Given to L.D. after her release from Holloway Prison'), Elsie Howey (signed 'E.[?] Howey' on reverse), Emily Davison (in graduation gown), Emmeline Pankhurst (3), Christabel Pankhurst (3), Sylvia Pankhurst, Flora Drummond, Charlotte Despard (sent to Emily Duval, 'Hope you are asking the following to come to rally. They have not applied for tickets yet..'), Mary Gawthorpe (2, one signed), Murial Matters (Australian journalist, signed), Edith How Martyn (one of the first suffragettes to go to prison, signed), Emmeline Pethick Lawrence, Annie Kenny, Charlotte Marsh (initialled), Ethel Snowden, Millicent Fawcett, Cicely Hamilton and many others.For further information on this lot please visit Bonhams.com

POSTCARDS - VARIOUSCollection of loose postcards relating to suffrage and World War I including portraits of suffragettes, RPPCs, and humorous and satirical cards, some written and posted, some with slight soiling and creasing (44)Footnotes:Postcards include:--7 portraits of WFL leaders including one of Charlotte Despard, sent by E. Fielden to Mrs [Emily] Duval ('The meeting tomorrow is at 7p.m.. I will meet you where the tram stops at Southall at that time. Yrs E. Fielden')--5 portraits, including 2 RPPCs of Emmeline Pankhurst and one printed.--View of Parliament with inset head and shoulders portrait of Nancy Astor, signed by her in ink below the portrait.--'Oh, what a difference!. 1. Reception of a Constitutional Deputation to the British Parliament at Westminster [policemen smiling and waving]. 2. Its result' [suffragette being arrested], satirical postcard sent to 'P.C. George, Police Station, High Street, Barry, Glam... ('Dear Friend. I hope that this will find you alright. I am so glad that you are doing so well, stick to it... Do treat these girls kindly, don't be rash..').--11 cards relating to suffragettes and women in World War I (3 by Fred Spurgin, 4 RPPCs of workers in a munitions factory).--16 humorous/satirical suffrage-related cards, mostly colour-printed.For further information on this lot please visit Bonhams.com

TRIAL OF 1909The Trial of the Suffragette Leaders, 48pp., portrait of Emmeline Pankhurst, stapled in publisher's printed wrappers, front cover with photographic illustration depicting 'Inspector Jarvis reading the Warrant', some soiling, chip to edge of lower cover and foot of spine, 8vo, The Woman's Press, [1909]; together with a sheet of draft notes by the magistrate, Curtis Bennett, possibly for the summing up in the trial, with deletions and amendments, 2 pages, on embossed 'Police Court Bow Street' paper, creased, folio (332 x 206mm.), [October 1908]Footnotes:Extremely scarce pamphlet containing a full account of the 1908 trial of Emmeline and Christabel Pankhurst, and Flora Drummond, which took place on October 14-24. It includes statements from those involved (beginning with a long speech by Christabel Pankhurst), the evidence of the witnesses, Christabel's cross-examination of David Lloyd George, and the final summing up and sentencing by the Magistrate, Curtis Bennett. His notes sold with the lot indicate he was in no doubt that the handbill published by the WSPU had served to incite large crowds 'to assemble in public to commit a 'wrongful and illegal act' by 'rushing' the House of Commons, thus causing breach of the peace.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

PANKHURST (CHRISTABEL)Typed letter signed ('Christabel Pankhurst') to The Hon. W. Ormsby Gore, M.P., asking him to speak at a WSPU meeting at the Queen's Hall, one page, on WSPU headed paper, type faded but signature strong, creased at folds, 4vo (255 x 202mm.), Clement's Inn, Strand, 14 September 1910; with a collection of autograph letters from other leading members of the fight for women's suffrage such as Millicent Garrett Fawcett (accepting an invitation, plus additional cut signature and woodburytype portrait photograph), Emmeline Pethick Lawrence (signed 'Sister Emmeline' at the West London Mission, 1895), Charlotte Despard (two, one accepting an invitation, the other sending a poem by Shelley, 1911 and 1912), Mary R. Richardson ('...to serve a great cause is the supreme happiness in life... there is still much to do...', 1953), Emily Davies, Blanche Caulfield (group), Frederick Pethick Lawrence (to Gladys Harron of Votes for Women with essays written by her etc.), c.50 pages, various sizes, c.1895 to 1953Footnotes:'THE WORLD WILL BECOME A SAFER & HAPPIER PLACE TO LIVE IN': A collection of miscellaneous letters from leading suffragettes including words of hope from Mary R. Richardson, the militant who, in 1914, famously slashed Velazquez's Rokeby Venus at the National Gallery in London.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

PANKHURST (EMMELINE)Portrait photograph signed 'E.Pankhurst/ Nov. 1913' in ink on the image, depicting Emmeline Pankhurst half-length in a white dress with black buttons and bow tie, photographer's stamp '©/Matzene/Chicago' on the image, 188 x 116mm., framed 330 x 277mm., November 1913Footnotes:EMMELINE PANKHURST IN AMERICA.In the autumn of 1913 Emmeline Pankhurst was on the run after refusing to return to Holloway in June of that year under the terms of the Cat and Mouse Act. She had spent two months in Paris with Christabel and sailed for New York in October. Her arrival caused considerable problems for the American authorities. Strictly speaking, as a convicted criminal, she should have been banned from the country (President Woodrow Wilson called her 'monstrous') but due to pressure from various women's rights groups, after being detained at Ellis Island she was allowed to continue with her visit provided she refrained from encouraging violence. This detention only afforded her more publicity and on a countrywide tour including Chicago where this photograph was taken, she raised over £4,000 for the WSPU. She was rearrested on her embarkation at Plymouth in December 1913 ('Emmeline Pankhurst Comes to America' blog, US National archives website).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

POSTCARDS - PORTRAITSAlbum containing c.183 postcards, mainly portraits of leading suffragettes, together with processions, demonstrations, campaigning, damaged buildings, some humorous cards, later and male figures etc., mostly photographic including some RCCPs, some signed, loosely inserted in pockets 4 per page within a postcard album, various dates, mostly early 20th centuryFootnotes:Fine album containing multiple or single portrait cards of the Pankhursts, Emmeline Pethick Lawrence, Millicent Fawcett, Charlotte Despard, Gladice Keevil, Emily Wilding Davison, Josephine Butler and many others. Signed cards include: Charlotte Marsh (initialled), Constance Lytton, Julia Varley (inscribed 'Julia Varley, Feb 14/09. Holloway quilt'), Ishbel Hamilton-Gordon, Marchioness of Aberdeen, Pauline Chase (2 of 4 signed), Muriel Matters and Anna Munro. Written cards include one of a march in Oxford Street ('...on the banner you will see the picture of one of the biggest lunatics of the lot, Mrs Pankhurst').Also included are c.40 cards of processions, demonstrations and other notable events, c.28 mostly uncoloured pro- and anti-suffrage cards, some Women's Freedom League and Writer's Suffrage League cards, 4 cards depicting Margaret Bondfield (first British Cabinet Minister, 1929), and a group of prominent male supporters (W.T. Stead, Philip Snowden, Keir Hardie, Asquith, Balfour etc.).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

TIGHE (MARY)Manuscript notebook titled 'Sonnets', on the first leaf, containing some 140 poems, written in ink in a fine closely written hand, including poems from 'Verses Transcribed for H.T.' and later works, beginning with 'Composed on the White Sands near Arklow', 'Written at Scarborough 1799', 'Written in Autumn 1795', 'Written in the Church yard at Malvern', 'Addressed to the Ladies of Llangollen Vale', 'Written for Angela 1802', 'The Vartree', 'A Faithfull Friend is the Medicine of Life', 'To the Memory of Margaret Tighe', 'Verses written in Solitude', her long ballads 'Cluen – An Elegy' and 'Bryan Byrne of Glenmalure' and ending with translations from Horace, Catullus and Petrarch, etc., with numerous amendments and additions, index, inscribed in pencil on flyleaf in another hand 'from The Library/ Rosanagh/ Co. Wicklow' with light pencil markings throughout, 396 numbered pages, one extra half leaf tipped in, bookplate of Henry Tighe, marbled endpapers, contemporary red straight-grained morocco gilt, rubbed, small nick in spine, upper cover soiled at corner, g.e., 16mo (118 x 94mm.), [n.p.], c.1806Footnotes:'OH THOU! WHOM NE'ER MY CONSTANT HEART/ ONE MOMENT HATH FORGOT/ THO' FATE SEVERE HAS BID US PART/ YET STILL FORGET ME NOT': A rediscovered notebook from the poet who inspired Keats.Irish poet Mary Tighe (1772-1810) '...was a crucial force in shaping British Romanticism. With remarkable vitality and virtuosity, her poetry engaged the central issues of the period, often in advance of writers now considered canonical, and commanded the attention and respect of her contemporaries....These poems demonstrate the technical virtuosity with which Tighe movingly wrote about the tensions between love and loss, duty and desire, the spiritual and the sensuous, loyalty and betrayal, nation and family, the Irish and the British, and much more, while struggling with debilitating illness...' (Paula R. Feldman & Brian C. Cooney, The Collected Poetry of Mary Tighe, 2016, p.1). The majority of the poems in our volume are included in 'Verses Transcribed for H.T.', an illustrated manuscript in two volumes dedicated and presented to her husband (and cousin) Henry Tighe, now held in the National Library of Ireland as part of the Hamilton of Hamworth Papers (MS 49, 155/2). These volumes were copied out by the poet sometime between 1803 and June 1808 and incorporate fair copies of her poems written at Brompton, London, where she spent the winter of 1804 to the summer of 1805 with beautifully drawn calligraphic headings and pen and ink vignettes. This manuscript is seen, until now, as the most authoritative text for most of Tighe's shorter poems: 'She carefully chose their arrangement; for example, she grouped all of her sonnets together, and she did not use strict chronology. Some of her extant poems were absent, but these omissions may have been a result of her not having them immediately at hand... Poems composed very late in her life are also not included...' (Feldman & Cooney, p.17). It may be that she used our volume as a source for the 'Verses' and, rather than the poems being not available to her, she made the editorial decision to leave them out.Much of the content tallies with that of the 'Verses' but with notable differences in the order. The first thirty or so poems follow the same order as the 'Sonnets' section of Volume I but 'Written on the acquittal of Hardy' is included before 'Addressed to the Ladies of Llangollen Vale', thus causing a change to the numbering. In the final version of 'Verses' she moves the Hardy poem to Volume II. Whilst the 'Verses' include 113 poems, our manuscript has around 140, and includes additional material from what bibliographers Feldman and Cooney call her 'Late Poems & Fugitive Verse', such as 'Eclipse', 'In Memory of Margaret Tighe taken from us June 7th 1804' and 'Verses written in Solitude'. She ends our manuscript by showing off her extensive classical education encouraged by her mother Theodosia Tighe (Methodist leader, friend of John Wesley, and co-founder of the Dublin House of Refuge) with translations from Horace, Catullus and Petrarch. The Tighes were living in times of great upheaval in Ireland and much of her work is highly political – included here her long ballad 'Bryan Byrne' which was based on real people and events.Our manuscript appears to be a working document with many amendments and neat crossings out – a half leaf with three additional verses has been bound into the poem 'Bryan Byrne' for example. In several places the poet has made corrections to our manuscript which made their way into the finished NLI manuscript (in 'Adorea' she replaces 'soothed and enraptured' with 'soothed or enraptured' for example – and in 'Pleasure', her note on the Senegal River has been much amended). In addition, some poems are lacking the titles that would be included in the final version. There would thus seem to be new material here which would bear much further research.Tighe published only one work in her lifetime, Psyche; or, the Legend of Love, which was put out in a private edition of fifty copies for the benefit of family and friends in 1805. However, whilst having many admirers amongst her literary circle (including Thomas Moore, Joseph Cooper Walker and the Ladies of Llangollen) it was the posthumous publication of Psyche, with Other Poems, in 1811 and in several later editions, that made her name widely known and established her literary reputation. Whilst she became to be seen as '...an exemplar of patiently (and picturesquely) long-suffering femininity...' (Pam Perkins, ODNB), Tighe's work was an influence on several better-known writers such as John Keats, Lord Byron, Charlotte Brontë and Felicia Hemans. After a hiatus in the twentieth century, her poems are once again enjoying recognition and it was only recently, in 2012, that her novel Selena was finally published for the first time. Tighe is now 'recognised as a great romantic-era woman poet of the sublime, who offered a complex, sophisticated, and aesthetically rich portrait of female sense and sensibility in her work' (Harriet Kramer Linkin, DIB). There is no volume matching the description of ours listed in the definitive Bibliography of Manuscript Sources in the latest Collected Poetry, so it could therefore be supposed that ours is a hitherto unknown, or at least rediscovered manuscript. The National Library of Ireland, Dublin holds the greater proportion of her extant manuscript works in the form of notebooks and fair copies of her poems, including 'Verses Transcribed for H.T.'. The family destroyed her journals after her death, but other manuscript material can be found in various commonplace books held elsewhere. Provenance: Henry Tighe (1771-1836) of Rosanna, Co. Wicklow (bookplate); thence by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

CAMERON (JULIA MARGARET)William Holman Hunt, half length portrait, albumen print, mounted on card, captioned in ink 'Registered Photograph. W. Holman Hunt. Julia Margaret Cameron' beneath image, a few small surface spots and 'corrections', spotting to mount [Cox & Ford 687], image 242 x 192mm., [1864]Footnotes:A portrait of William Holman Hunt, co-founder of the Pre-Raphaelite Brotherhood, 'as the painter of the Holy Land... sporting an elegant headdress and striped robe with stylish waistband' (Julia Margaret Cameron. Photographs from the J. Paul Getty Museum, 1996). Cameron had corresponded with Hunt on the subject of photography as early as 1859 (see Cox & Ford, p.42), and met him as part of the literary and artistic set that gathered at Little Holland House.For further information on this lot please visit Bonhams.com

ALBUM – CONSTANCE MARSDENAutograph album of photographer Constance B. J. Marsden of Redcliffe Gardens, South Kensington, containing some 35 signatures and quotations including Christabel Pankhurst ('Aspirations are proportional to destinies'), Emmeline Pankhurst ('Votes for Women'), Emily Wilding Davison ('Deeds, not Words... March 30th 1909 1 month. Holloway./ July 30th 1909 2 months Holloway (Hunger-Strike)/ Sept. 4th 1909 2 months Strangeways... Oct 20th 1909 1 month (hard) Strangeways (2 Hunger-Strike & Hosepipe)'), Flora Drummond ('...I am writing in honour of one of the best 'Votes for Women' paper sellers...'), Constance Lytton and her alias Jane Warton, Charlotte Despard, Annie Ainsworth, Frederick William Pethick Lawrence, Marion Wallace-Dunlop, Ethel Smyth (musical quotation 'We have waited so long, we will wait now no more' dated June 1913), Catherine Emily Perie ('nurse to Mrs Pankhurst'), Mildred J. Marsden, Emmeline Pethick Lawrence, Laura Ainsworth ('Ride on to Victory'), green calf, worn, 4to (165 x 198mm.), 1908 to 1913Footnotes:'ONE OF THE BEST 'VOTES FOR WOMEN' PAPER SELLERS': The album of a WSPU photographer and activist.Constance Marsden's album reads like a 'Who's Who' of the suffrage movement. She was a member of the WSPU and photographed Emmeline Pankhurst in August/September 1913. The portrait was subsequently accepted by the Royal Photographic Society of Great Britain for an exhibition at the Royal Society of British Artists in Suffolk Street (Crawford, Elizabeth, The Women's Suffrage Movement: A Reference Guide 1866-1928, 1999, p.548). The entry in the album from Flora Drummond dated July 1910 makes reference to her considerable paper-selling skills on behalf of the cause. In the summer of 1910, she came third in a sales competition run by the WPSU for individually selling 1,448 copies of Votes for Women in a three month period, behind Miss McKenzie of Scarborough (1,797) and Mrs Axed of North Kensington (1,652) (pigott-gorrie.blogspot.com). One of nine siblings, her sister Sybil (a dressmaker trading under the name Madame Mantalini) is known to have shown her suffragist affiliations by making an anti-government statement on her census form of 1911. Her father, Algernon Moses Marsden, was a fine art dealer whose artists included James Tissot, who painted him in 1877, but, by the turn of the century, had been declared bankrupt several times (womanandhersphere.com suffrage-stories blog).As well as containing the signatures of Emmeline and Christabel Pankhurst, other contributors to this album include the suffragette martyr, Emily Wilding Davison, and illustrator Marion Wallace-Dunlop, who is credited with being the first to initiate the hunger strike as a means of retaliation. According to Votes for Women, Ethel Smyth's March of the Women with words by Cicely Hamilton was 'at once a hymn and a call to battle'. Also represented is Lady Constance Bulwer-Lytton (known as Constance Lytton), the author of Prisons and Prisoners who signs her alias 'Jane Warton' beneath her own name. Not wishing for preferential treatment due to her social status, she disguised herself, cut her hair and used an alias, taking on the character of 'an ugly London seamstress'. Subsequently, when arrested she suffered the same harsh treatment accorded to other prisoners and was repeatedly force fed, leading to a heart attack and several strokes (her book, a copy of which is offered in the present sale, was written with her left hand). Her extremism went as far as carving 'V' for Votes for Women on her chest whilst in prison using a needle and broken hatpin.Provenance: The Rev. Frederick Hankinson (1875-1960); Reginald Andrew Couzens (b.1904); thence by descent to the present owner.Suffragettes: The Hankinson-Goode Collection (lots 52-110) This remarkable collection of suffragette ephemera was assembled by the current owners' late parents, Myrna and Philip Goode, who inherited and then built on the collection bequeathed to them by the Rev. Frederick Hankinson (see lot 72). As the owners recall: 'Our Great Grandmother took her adopted son, my grandfather, to one of the Rev. Hankinson's churches and that this is how they met. My grandfather, Reginald Andrew Couzens, was born in 1904 and 'Hank' reputedly looked upon him as a surrogate son. My grandfather stayed close to Hank all his life. He did his accounts, cut his hair and various other things, right up until Hank died. My grandmother used to boast about the time that, through Hank, Lord and Lady Pethick Lawrence came to tea. With both our grandparents coming from very ordinary and relatively poor families, it was a huge honour to have gentry in their home. 'When Hank died in 1960, it was discovered that he had left his entire estate to our grandfather. They found Hank's papers and the autograph albums and were fascinated by them. At the time, they were worth very little, and there was little interest in the Suffrage movement, but our parents thought they were important historically. Now, we are amazed at their foresight. The whole lot could easily have ended up being thrown away. The documents were packed into boxes and stored in our grandparents' loft, unsorted, until our grandfather died. My grandmother then gave them to our parents, who began to go through and research them. 'Our parents became more and more interested in the subject and started collecting bits and pieces they came across, which in the 60s and 70s were still cheap to buy. We would go to any postcard fair we came across locally and on holiday, and search through for Suffragette postcards. It was on one of these jaunts in Norfolk that the window-smashers set was discovered. It seems hard to believe, but at that time a lot of the sellers didn't really know who or what Suffragettes were. 'As time went on and material became much better-known and sought-after, our parents decided to invest in some lots that would enhance the collection. They bought the Emily Wilding Davison and Duval collections at auction, the Suffragette newspapers and so on. They wanted their collection to be useful as well as giving them pleasure, and so they put on several exhibitions using their material, and shared documents with researchers, students and museums, including the Museum of London. They gave talks in schools and for societies in the area as well. Although the time has come to place the care of the collection in other hands, Hankinson remains an important part of our family's history and his legacy has had a huge and positive impact on all of us'.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

COBBE (FRANCES POWER)Why Women Desire the Franchise, FIRST EDITION, 12pp., modern calf-backed boards, Published by the London National Society for Women's Suffrage, Spottiswoode & Co., 1869; together with a carte-de-visite size portrait by Philip Crellin, albumen print, signed by Frances Cobbe below the image--Opinions of Women on Women's Suffrage [contributers include Florence Nightingale, Millicent Fawcett, Frances Cobbe and Baraba Bodichon], disbound, National Society for Women's Suffrage, 1879, the last 2 with library stamps of the University of Bristol at foot of title-pages and at end--MILL (JOHN STUART) Speech of the Late John Stuart Mill at the Great Meeting in Favour of Women's Suffrage, held in the Music Hall, Edinburgh, January 12, 1871, 8pp., library blind-stamp on title, slight creasing and fraying at edges, modern boards, Edinburgh, John Lindsay, for the Edinburgh National Society for Women's Suffrage, 1873; The Subjection of Women, second edition, half-title with library stamp of St. Joseph's, Bishop's Stortford, ownership signatures of Frank Randall (one dated 1885), publisher's bind-stamped cloth, edges rubbed, Longmans, Green, 1869--DILKE (Mrs. ASHTON) Women's Suffrage, stereotyped edition, stamp of the Women's Institute on title-page, later cloth, publisher's wrappers (slightly chipped) and adverts bound in, Swan Sonnenschein, [1885]--BALFOUR (ARTHUR JAMES) Speech in the House of Commons on Women's Suffrage [1892], 7pp., stapled as issued, Central Society for Women's Suffrage, [c.1903], 8vo (7)Footnotes:A group of pamphlets and books on suffrage, including the elusive first edition of Why Women Desire the Franchise by the Victorian writer, feminist and social reformer Frances Cobbe. Born in Ireland, she was involved with the Married Women's Property Committee and the formulation of the 1866 petition, and was a founding member of the London National Society for Women's Suffrage in 1867. Included in the lot is a signed carte-de-visite portrait of Cobbe.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

DESPARD (CHARLOTTE)Woman in the New Era... with an Appreciation by Christopher St. John, publisher's printed wrappers, front wrapper with stain and chip at corner, The Suffrage Shop, 1910--SNOWDEN (ETHEL) The Feminist Movement, second edition, advertisement leaf, half-title and portrait, publisher's blind-blocked cloth, spine gilt (slightly faded), Collins' Clear-Type Press (The Nation's Library), [1913]--[SMEDLEY (CONSTANCE)] Woman: A Few Shrieks! by X. With an Appendix by Mrs. Philip Snowden, half-title, bookplate of Manuel Maximo Terrero, library cloth with stamps (half-title, last page and covers) and label of Working Men's College, [Letchworth, Garden City Press Limited, 1907]--PHILLIPS (MARY) The Militant Suffrage Campaign in Perspective, stapled in original printed wrappers, [Printed for the author by Latimer Trend & Co., Plymouth, 1957]--[HOUSMAN (LAURENCE)] The 'Physical Force' Fallacy, 8pp., signature of Elsie Louise Friedeberg, 1910, publisher's illustrated wrappers (detached from text), The Woman's Press, [1913]; [Printed poem] Woman's Cause, single folded sheet, full-page illustration on p.1, followed by 2pp. 'Prologue. Written for the Scala Theatre Matinee, November 12th, 1909', Women Writer's Suffrage League, [1912]--SHAW (GEORGE BERNARD) Press Cuttings: a Topical Sketch Compiled from the...Columns of the Daily Papers... as Performed.. at the Royal Court Theatre, bookseller's stamp at foot of title, publisher's wrappers, soiled, spine chipped, Constable, 1909--MASEFIELD (JOHN) My Faith in Woman Suffrage, publisher's printed wrappers, The Woman's Press, [1910], 8vo (8)Footnotes:A group of scarce pamphlets and books by suffragettes and their male supporters, including works by Charlotte Despard, Ethel Snowden (including the feminist polemic Woman: A few Shrieks!), Mary Philips, George Bernard Shaw and Laurence Housman.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DUVAL (EMILY) & THE WSPUCollection of letters, printed ephemera and drawings relating to the Duval family and their involvement with the WSPU, comprising:i) Typed carbon copy of Mrs Emily Duval's statement following her six-month incarceration in H.M. Prison Winson Green, Birmingham, for taking part in militant action on behalf of the WSPU on 1 March 1912, describing in unsparing detail the harrowing ordeal of three sessions of force-feeding over two days in June ('...I was taken downstairs... into what is called 'The Nursery' which looked to me like a slaughter house... Then they held my head back and forced this Nasal tube, which was most agonising... I did not know how to breathe... What I went through all that night I cannot tell... pains in my head, pains in my ears, and my nose was pouring all night through and I was vomiting all night through... I simply felt mad to think that anybody could be so cruel... 'Now take my advice and take the cup' [the Doctor said] 'I tell you I won't; you shall carry me out a corpse first'... With that the gag was put in my mouth. The same performance gone through... I could see that tears were in the eyes of many of the wardresses...'), 7 leaves, 3 on lined paper, dust-staining, creases and marks, folio (335 x 210mm.), Birmingham, 30 June 1912ii) Correspondence from Emmeline Pethick Lawrence and Lady Constance Lytton to Emily Duval, including: Autograph letter signed ('Emmeline Pethick Lawrence') to Emily Duval ('My dear Mrs Duval'), paying tribute to her work for the cause ('...I see you now clearly in that Hospital Ward at Holloway... all those troubles are forgotten now and we rejoice together at what they won for others... I think of Lady Constance & Emily Davidson... I have been having letters lately from Christabel in Canada. She is very well & happy & so is Mrs Pankhurst. They have four adopted children... I had the great pleasure of being at Mrs Despard's birthday party... The longer I live, the more thankful I am that I was allowed to be one of that great fighting comradeship that changed the status of women...'), 9 pages, creased, some marks, 8vo (180 x 118mm.), Gomshall, Surrey, 15 October 1924; Autograph letter signed 'Constance Lytton' to Mrs Duval ('Dear Mrs Duval') sending a photograph of herself and asking for one in return '...as a remembrance of our time together in Holloway Remand Hospital... I wish people who scoff at our imprisonments could know more of what you have had to suffer in Holloway...', 4 pages, 8vo (178 x 116mm.), Homewood, Knebworth, 2 August [19]09; with an autograph letter signed 'L Garrett Anderson' to Lady Lockyer, introducing Lady Constance Lytton, 3 pages, 8vo (178 x 166mm.), Harley Street, 25 May 1910; and a portrait postcard of Lytton and related newspaper cuttingsiii) Printed ephemera including two membership cards for the WSPU (one with membership pledge detached); membership card for the Young Purple, White & Green Club (for Girls and boys from 8 to 21 years of age); two tickets for meetings at the Queen's Hall, with Mrs Pethick Lawrence and the Pankhursts as speakers; subscription form for Women's Franchise, 1907; Anti-Liberal handbill, Hastings, March 1908; supplement to Votes for Women, 1 October 1909; printed election pamphlets for Victor Duval, 1924 ('All Women Should Vote Duval'), etc.iv) Portrait of one of the Duval sisters, possibly Elsie, half-length, seated, wearing a green dress with pink trim, watercolour on board, unsigned, 247 x 185mm.Footnotes:'THEN THEY HELD MY HEAD BACK AND FORCED THIS NASAL TUBE, WHICH WAS MOST AGONISING': A harrowing first-hand account of the practice of force feeding from a celebrated activist and letters of recognition from the leaders of the WSPU.Emily Duval (1861-1924) joined the WSPU in 1906 but in 1907 left to join the Women's Freedom League and took part in their campaign of protesting in police courts when women were in the dock. She was imprisoned several times, notably in February 1909 when she served six weeks in Holloway. It is there she met Constance Lytton, who makes mention of her in Prison and Prisoners and later, as seen here, wrote to her reminiscing about their time together: '...I wish people who scoff at our imprisonments could know more of what you have had to suffer in Holloway...' she writes. In 1911 Emily rejoined the WSPU, preferring their more militant stance, and threw herself into their campaign of window smashing and was arrested and imprisoned several times. On 26 March 1912 she began a six month's sentence at Winson Green Prison in Birmingham. At the end of four months in prison she joined in the hunger strike and was forcibly fed. Her harrowing account of this ordeal is included here and she received an illuminated scroll in recognition (see lot....). Amongst her papers is a letter dated 1924 from Emmeline Pethick Lawrence who gives news of Emmeline and Christabel Pankhurst and writes in gratitude '...I think of Lady Constance & Emily Davidson & of you & many others... whose lives have helped to make our present work possible...'.Her husband Ernest and children Victor, Elsie, Norah, Laura, Winifred and Barbara were all involved in the cause, some also going to prison, their names included in the Roll of Honour. Also included in the lot is a photograph of three of the Duval sisters reading a copy of Votes for Women and a newspaper cutting from the Daily Sketch of 1912 reporting on the wedding of Una Dugdale and Victor Duval in which the caption speculates controversially on whether the bride agreed to 'obey' her husband. Tragically, three of the Duval daughters – Winifred, Elsie and Barbara - did not live long enough to see the vote (see Crawford, E., The Women's Suffrage Movement: A Reference Guide 1866-1928, 1999, for detailed information on the Duval family). Provenance: Sotheby's, 15 December 1987, lot 244 (part).For further information on this lot please visit Bonhams.com

DUVAL (EMILY AND NORAH)BAILLIE-WEAVER (GERTRUDE) The Life of Emily Davison. An Outline by G[ertrude] Colmore', FIRST EDITION, EMILY DUVAL'S COPY, inscribed on verso of portrait frontispiece 'Emily D. Duval/ Given to her by Mrs Green/ Dec. 17th. 1913', publisher's printed wrappers (detached), small 8vo, The Women's Press, 1913--HIGGINSON (THOMAS WENTWORTH) Common Sense About Women, signature on title-page of Joseph Mazzini Wheeler (1850-1898, atheist and freethought writer), inscribed on half-title 'The Countess of Buchan, from W.H. Eyre. Jan. 1. 1884' and 'Winson Green Prison/ Birmingham 1912. March/ Emily D. Duval', publisher's cloth, upper cover and spine detached, lacking lower cover and front free endpaper, W. Swan Sonnenschein, 1882--MORRIS (WILLIAM) News from Nowhere, eleventh impression, inscribed on front paste-down 'To Norah Duval in Aylesbury Prison from [?] 7/5/12' and with the signatures of 24 female prisoners on the rear endpapers (free endpaper detached), publisher's cloth, stained, spine label defective, Longmans, 1910, 8vo; and 2 others believed to have been read by Emily Duval in prison, one signed by her (5)Footnotes:DUVAL FAMILY ASSOCIATION COPIES. The first edition of Gertrude Colmore's brief biography of Emily Wilding Davison is rare: three copies are listed on Library Hub and none on WorldCat. Colmore's real name was Gertrude Baillie-Weaver, and as well as founding the National Council for Animals' Welfare, she contributed articles to The Suffragette and Votes for Women, wrote fiction including Suffragette Sally and was a member of the Women's Freedom League.The second volume was used by Emily Duval during one of her several prison sentences, this one six months in Winson Green Prison, Birmingham, given for window smashing in Regent Street. There she went on hunger strike and was forcibly fed before being sent to a nursing home and subsequently released. In addition to the inscriptions, the half-title also has a newspaper clipping pasted in concerning the 'breakdown' of James Scott, the governor of Holloway Prison who was forced to retire on health grounds ('the Suffragist prisoners... had caused him much worry and anxiety').Whilst Emily was in Winson prison, her 21 year old daughter Norah, owner of the third volume (which is signed by 24 fellow suffragette prisoners), was serving her four month sentence in Aylesbury, where she too went on hunger strike and was forcibly fed.Provenance: Sotheby's, 15 December 1987, lot 244 (part).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DUVAL (NORAH)Autograph album bearing ownership inscription of Norah Duval of Westfield Terrace, Chapel Allerton, containing c.20 signatures, pencil drawings and watercolours, including an inscription by Emily Wilding Davison dated 11 March 1913 ('Who would be free herself must strike the blow!'/ 'Rebellion against tyrants, is obedience to God!' 'Deeds, not Words!'), green cloth, worn, 97 x 153mm., 1911 to 1913 [dated 8 August 1911]; with a leather presentation case for a Hunger Strike Medal bearing the lettering inside 'Presented to Norah Duval by the Women's Social & Political Union in recognition of a Gallant Action whereby through endurance to the last extremity of hunger and hardship, a great principle of political justice was vindicated', 60 x 100mm.; together with a cartoon by Cecilia Forbes-Robertson depicting Norah Duval standing over a bemused policeman, having just smashed a window, toffee hammer in hand, signed 'C.F.R/ 1912', pencil and watercolour, 262 x 180mm., and another caricature of Norah Duval by an unknown artist, in crayon, 260 x 156mm., [n.d.] (4)Footnotes:'DEEDS NOT WORDS': Emily Wilding Davison inscribes an autograph book for Norah Duval.Norah was the daughter of militant suffragists Emily and Ernest Duval and sister of Elsie, Victor, Barbara and Millicent. She followed in the family tradition and was incarcerated in Holloway for militant acts and was a recipient of the Hunger Strike Medal (not included in the lot). Her autograph album bears the address of the art critic Frank Rutter, a long-time friend of the Duval family with whom she was staying. It was at his wedding in 1909 that Victor met his future wife Una Dugdale and in 1913 he gave Elsie Duval a reference to find work in Europe after her escape from the Cat and Mouse Act, also allowing his house in Leeds to become a haven for those recovering from hunger strike. It is probably through Rutter that the Duvals met the Forbes-Robertsons. Cecilia studied at the Royal Academy in 1917, exhibited between 1917 and 1921. Her brother was the artist Eric Forbes-Robertson, whose wife Janina painted Barbara Duval's portrait also in the present sale. Provenance: Sotheby's, 15 December 1987, lot 244 (part).For further information on this lot please visit Bonhams.com

DUVAL (BARBARA)Portrait of Barbara Duval by Janina-Forbes Robertson (active 1908-1912), seated in an armchair reading a book, the 'Portcullis' device in the top right corner, oil on canvas, signed 'Janina Forbes-Robertson/ 1912' (lower left), framed, 13 x 10 1/4 in. (33 x 25.5cm.)Footnotes:Barbara Duval (d.1919) was the daughter of Emily Duval of the WSPU and Ernest Duval of the Men's Political Union, a well-known family of suffragists. In October 1908 she was arrested with her mother during the disturbances when Muriel Matters chained herself to the grille of the Ladies' Gallery of the House of Commons. Whilst Emily received a fine, Barbara was discharged on promising to abstain from any militancy until she was 21. However, she did spend time behind bars. The portcullis device depicted behind her refers to the 'Holloway Brooch', presented to those incarcerated in Holloway Prison, and her name appears on the Roll of Honour of suffragette prisoners published in 1914 (included in the Hankinson lot in the present sale). She, with two of her sisters, died in the influenza epidemic of 1919.Polish-born Janina Forbes-Robertson (née Flamm) attended the Académie Julian in Paris with her future husband Eric Forbes-Robertson, who had studied with Bonnard, Vuillard and Denis, met Gauguin and was the great friend of Robert Bevan. They exhibited together at the August 1911 show of the Esperantist Vagabond Club.Provenance: Sotheby's, 15 December 1987, lot 244 (part).For further information on this lot please visit Bonhams.com

EARLY SUFFRAGE MOVEMENTS and THE MEN'S LEAGUECollection of letters and printed ephemera pertaining to early women's suffrage, the National Union of Women's Suffrage Societies and the Men's League for Women's Suffrage, comprising:i) Four autograph letters from Priscilla Bright McLaren signed ('P.B. McLaren') to Ethel Wheeler ('My dear Ethel'), mostly on domestic matters, the last mentioning Balfour and the women's suffrage meeting in the House of Commons; with four envelopes and facsimile letters including a 'Greeting to my Suffrage Friends' dated 1901-1902, c.20 pages, 8vo, Belgrave Square, Newington House and elsewhere, 1897-1906; autograph letter signed ('Lydia Becker') on behalf of the Manchester National Society for Women's Suffrage, to W.F Lawrence Esq., M.P., forwarding a copy of a resolution and an invitation to a meeting, one page, 8vo, Parliament Street, London, 10 June 1887; with another from Annie Besantii) Material relating to the Men's League for Women's Suffrage, including: portrait postcard of pro-suffrage journalist W.J. Stead in prison uniform, signed and inscribed on the mount ''In Memory of 1885'/ New Year 1912/ W.J. Stead', 170 x 115mm., with a signed postcard inscribed 'To the Wicked One' and dated 1910, and two further postcards; with a typed letter signed ('W.J. Stead') to The Editor of the Morning Post, forwarding an advance copy of the Review of Reviews, one page, 4to (257 x 240mm.), London, W.C., 11 October 1893; with various printed leaflets, handbills and membership cards, including Charles Drysdale's Why Men Should Help Women in Their Claim for Enfranchisement published by The MLWS; three handbills ('Great Demonstration in Support of Women's Suffrage... Dec. 17th 1907'), etc.Footnotes:'THE TIME HAS COME WHEN THE GOVERNMENT SHALL BE URGED TO REMOVE THE ELECTORAL DISABILITIES OF WOMEN': pioneers of women's suffrage.Several pioneers of women's suffrage in the late nineteenth-century are represented in this collection including Priscilla Bright McLaren (1815-1906), the sister of Radical MP's John and Jacob Bright (who took on the leadership of the suffragettes in parliament). McLaren was active in a wide-range of radical feminist movements throughout her life, was on the executive committee of the National Union of Women's Suffrage Societies, and instigated the Grand Demonstrations of Women in the 1880's in support of women's enfranchisement (see Crawford, Elizabeth, The Women's Suffrage Movement: A Reference Guide 1866-1928, 1999, p.400-404). Her letter shows a keen interest in current events into old age when, just before she died, she wrote in support of the more militant WSPU women who had recently been arrested and imprisoned. The Men's League for Women's Suffrage was founded in 1907 as a non-militant, non-party organisation which, however, supported the WSPU and the WFL, aiming to put pressure on parliament by constitutional means. Eminent supporters included Henry Nevinson, Henry Brailsford, Laurence Housman, Israel Zangwill and Dr Charles Mansell-Moullin who actively campaigned against force feeding. Known as 'the pioneer of investigative journalism' the highly influential campaigner William Thomas Stead (1844-1912) founded the Review of Reviews in 1889 after several years editing the Pall Mall Gazette. He also produced a spiritualist quarterly, Borderland, and died aboard the Titanic.For further information on this lot please visit Bonhams.com

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Child's head".Bronze.Marble base.Measurements: 24 x 19 x 11 cm. (bronze); 6 x 16 x 11 cm.(base).At the end of the 1920s, Manolo Hugué began to take an interest in the portrait genre in a way that he had not done in previous periods. In addition to full-length sculptures, he also began to produce portraits, focusing on the heads and therefore on the physiognomic expression, achieving a volumetric form that was a repository of pure emotional energy.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Child's head".Terracotta.Wooden base.Measurements: 23 x 18 x 10 cm. (terracotta); 3 x 17 x 12 cm.(base).At the end of the 1920s, Manolo Hugué began to take an interest in the portrait genre in a way he had not done in previous periods. In addition to full-length sculptures, he also began to produce portraits, focusing on the heads and therefore on the physiognomic expression, achieving a volumetric form that was a repository of pure emotional energy.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

JOAN REBULL (Reus, 1899 - Barcelona, 1981)."Girl".Stone sculpture.Signed on the lower right-hand side.Measurements: 62 x 27 x 20 cm.This work is an eloquent example of the most personal work of Joan Rebull, an artist who develops a language with classical aesthetic roots, based on the principles of nobility, beauty and proportion, which nevertheless uses an idealisation and a synthesis of forms in accordance with the avant-garde and not with the models of Classical Antiquity. Thus, we are faced with a serene, balanced child portrait with a certain immutable, archaic and almost sacred character in the perfection of its proportions and structural lines, which establishes a bridge between the ancient idols and avant-garde plastic research.Considered to be the most outstanding Catalan sculptor of his time, Joan Rebull began in the world of sculpture in his native city under the guidance of the sculptor Pau Figueres. In 1915 he moved to Barcelona to begin his artistic training at the La Lonja School of Fine Arts, while at the same time working in the workshop of the marble worker Bechini. In 1916 he made his solo debut with an exhibition at the Centro de Lectura in Reus, and the following year he founded, together with other artists, the group known as "Els Evolucionistes" (The Evolutionists), which aimed to counter the Catalan Noucentisme. In 1921 he received a grant from the Círculo Artístico and travelled to London and Paris, where he was particularly impressed by the ancient art housed in their museums. Between 1926 and 1929 he lived in the French capital and took part in the Salon des Indépendants, although he also sent works to exhibitions in Barcelona. In Paris he was the first artist to be contracted by the prominent Catalan art dealer Joan Merli. On his return he was appointed president of the new Montjuic Salon (1932) and a member of the Sant Jordi Academy (1934), took part in various exhibitions in Madrid and Barcelona and, in 1938, won the Campeny Prize at the Salon d'Automne in Barcelona. After the war, he went into exile in Paris, where he took an active part in artistic life, taking part in the exhibition "Le Jeune Sculpture Française" and the Salons d'Automne. He returned to Barcelona in 1948, and three years later won a great prize at the I Bienal Hispano-American Art Biennial in Madrid. In 1962 he was appointed professor at the Sant Jordi School of Fine Arts, and shortly before his death he was awarded the gold medal of the Generalitat de Catalunya. A child of noucentista perfectionism and a great draughtsman, Rebull worked with great technical mastery and confidence in the path to follow. His sculpture is direct and anti-rhetorical, based on a serene and essential vision of reality. His style can be defined as a reencounter with the source of classicism, from which he never copies the consequences. He is represented in the National Art Museum of Catalonia, the Reina Sofia National Centre, Barcelona City Hall, the Monastery of Montserrat and the Palau de la Música Catalana, among other centres.

MELLY (GEORGE), JAZZ AND EROTIC DRAWINGSTypescripts for the running order of two episodes of radio programmes 'Jazz Club... Late Jazz.. Introduced by George Melly', EXTENSIVELY ANNOTATED AND DECORATED WITH EROTIC DRAWINGS, together 15 leaves, printed recto and verso, extensive notes added by Melly, in blue or black biro, with the text of his contributions to the programme, amendments to running order, etc., and 18 LARGE CARICATURE DRAWINGS, all but 2 of pseudo-Surrealist erotic (or 'dirty') subject matter, one a portrait of Tommy Whittle and his saxophone, stapled at upper left corner, a few leaves loose, a few small marginal tears, folio (320 x 200mm.), Feb-May 1963 (2)Footnotes:'Jazz Club' radio scripts enlivened with erotically charged sketches by George Melly (1926-2007), a stalwart of the British jazz scene from the 1950s onwards, but equally a champion of Surrealism, bi-sexuality, libertarianism, and 'good times'. Melly introduced the pioneering late night live jazz programme on the BBC, with these two scripts introducing Bob Wallis and his Storyville Jazzmen, and The Tommy Whittle Quartet. Presumably inspired by his interest in Surrealist spontaneity Melly's rapid sketches - taking in a cast of sailors, prisoners, royalty, etc. - are prompted by the titles of the jazz tunes in the programme; 'Everybody Loves Saturday Night' (group sex), 'Duke's in Bed' (involving a figure in a crown), 'We'll be together again' (under the table activity during a prison visit), 'Combined Effort' (group sex), 'So Do It' (a sailor and an eager man), 'Someday Somehow' (a nude Vanessa Redgrave and excitable Bernard Levin), etc.Provenance: George Melly; family descent.For further information on this lot please visit Bonhams.com

SUN YAT-SENAutograph letter signed ('Yours truly Sun Yat Sen') to Felix Volkhosky, in English, informing his friend that 'The number of 'The Times' in which the question made [sic] in the House of Commons concerning my kidnapping is that of the 16th of February', and announcing his intention to leave for America at the end of the month, whilst hoping to see Volkhosky once more ('If not let me bid fairwell [sic] to you now'), written in brown ink on page 1 of a bifolium, with Victoria Vellum watermark, horizontal crease where originally folded but otherwise fine, 8vo (175 x 113mm.), 8 Gray's Inn Place, 21 June 1897; Kidnapped in London: Being the Story of my Capture By, Detention At, and Release from the Chinese Legation, FIRST EDITION, wood-engraved portrait (detached), publisher's cloth-backed pictorial boards, spine and edges of covers stained, 8vo, Bristol, J.W. Arrowsmith, 1897 (2)Footnotes:'KIDNAPPED IN LONDON' - SUN YAT-SEN ON HIS NOTORIOUS ABDUCTION, WITH A RARE COPY OF HIS PUBLISHED ACCOUNT.Rare letter from one of the greatest Chinese leaders, the first president of the Republic of China and a founding father. Sun Yat-sen (12 November 1866–12 March 1925), known as the 'Father of the Nation', holds a unique position in the Chinese-speaking world as the only twentieth century leader who is revered by those in both the People's Republic of China, for his instrumental role in the overthrow of the Qing dynasty in 1911, and in the Republic of China, Taiwan.Felix Volkhovsky (1846-1914) was one of several Russian political exiles that Sun Yat-sen met in London when he arrived in 1896. Volkhovsky was editor of the monthly journal of the Society of Friends of Russian Freedom, Free Russia, having previously spent seven years in solitary confinement in St. Petersburg, and eleven years in exile in Siberia before he eventually managed to escape to Canada under a pseudonym, arriving in London in 1890. Volkhovsky's experience and knowledge were hugely influential and inspiring to Sun, who inscribed a copy of his book Kidnapped in London to him, suggesting in an accompanying letter now in the Hoover Library that the Russian may have helped him with the book, a copy of which is included in the lot. Sun Yat-sen's wry published account of the affair is rare: no copies are listed as having sold in auction records.Accounts of Sun's kidnapping and imprisonment at the hands of the Chinese are well documented, if sometimes contradictory, but the role of Hugh and Mabel Cantlie in freeing him is undisputed. Although the Times held back from printing Cantlie's first report of the incident, the newspaper's journalists were prominent amongst the crowd that surrounded the Chinese legation, and the day after his release he wrote to the paper thanking its readers for their support. This helped his fame to spread worldwide, and greatly improved his fundraising prospects. For further details of the event, see the Sun letters to Cantlie sold in these rooms, 15 September 2021, lots 110-112.Provenance: Letter from the Estate of Robert Batchelder, via University Archives to the current owner. Book with old stamp of Arnhemsch Lees-Museum on title-page, with date stamp (1924) at front; H.E. Romelingh, bookplate with note of purchase below dated 8 May 1978.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

SLAVERYSANCHO (IGNATIUS) Letters of the Late Ignatius Sancho, an African, hHalf-title, stipple-engraved portrait of Sancho by Francesco Bartolozzi after Thomas Gainsborough, engraved additional title with integral stipple-engraved roundel by Bartolozzi, folding engraved facsimile of a letter from Laurence Sterne to Ignatius, foxing to illustrations and occasionally to text, printed title with repairs on verso causing staining to recto, nineteenth century half calf, spine rubbed, 8vo, Printed for William Sancho, 1803Footnotes:A LANDMARK IN PUBLISHING HISTORY: THE FIRST BOOK TO HAVE BEEN BOTH WRITTEN AND PUBLISHED BY A BLACK PERSON.Ignatius Sancho (c.1729-1780), abolitionist, composer and actor, known at the time as 'the extraordinary Negro', was born on a slave ship in the Atlantic bound for New Granada. At the age of two he was taken to England, and spent eighteen years as a slave in Greenwich before running away to work for the Duchess of Montagu and her family in Blackheath and eventually opening his own grocery shop in Westminster. He soon became prominent in the burgeoning abolitionist movement, and was 'the first known person of African descent to vote in a British general election. As an independent male property owner, with a house and grocery shop on Charles Street, he had the right to cast his vote for the Westminster Members of Parliament in the 1774 and 1780 elections' (British Library website). On his death in 1780, Sancho became the first African to be given an obituary in the British press, and two years later, Frances Crewe, a correspondent of Sancho (as was Laurence Sterne), edited 160 of his letters and published them in a two-volume edition with an anonymous memoir by Joseph Jekyll. The frontispiece comprised a portrait engraved by Bartolozzi after Gainsborough, who had painted Sancho along with the Montagus in 1768. The book was an immediate success, with more than 2000 subscriptions reflecting 'the great range of Sancho's social circle: men and women, aristocrats, servants, artists, businessmen, country squires, and prominent politicians' (ODNB), and subsequent editions followed. The fifth, the first one-volume edition, was published by his son, William Leach Osborne Sancho, who inherited the shop and transformed it into a printing and book-selling business.Provenance: L.A.J. & M. Baker, bookplate. 'Mr L.A.J. Baker, who lived in Blackheath, was a keen antiquarian and a member of several local history societies for many years. He amassed a considerable collection of books, maps, press cuttings as well as his own writings, which all pertained to Lewisham and Greenwich. Many of these were acquired by Lewisham Local Studies and Archives' (National Archives website).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

DANTE ALIGHIERI[Divina Commedia], commentary by Christoforo Landino and Alessandro Vellutello, edited by Francesco Sansovino, title with large woodcut portrait of Dante within elaborate framework, text in italic with commentary surround in roman type, 95 woodcut illustrations (one full-page), printer's device at end, modern vellum, title and following 2 leaves on early paper stub, title with short tear resulting in loss of one letter imprint (the second 'e' of 'Venetia'), and with seventeenth century inscriptions, some dampstaining (quite heavy to approximately 40 leaves), old morocco spine label [Adams D103; Mortimer Harvard Italian 148], folio (300 x 210mm.), Venice, Domenico Nicolino, for Giovanni Battista and Melchiore Sessa and brothers, 1564Footnotes:The first Sansovino edition of Dante's 'Divine Comedy', and the first to include the commentaries of Landino and Vellutello together. The portrait of Dante is new to this edition. The woodcuts were cut for Francesco Marcolini's 1544 edition, and were used again by the Sessa brothers for their 1578 and 1596 editions of Dante.Provenance: L. Palladio, ownership inscription dated 1661 on title (recto and verso); his son, Alexandro, ownership inscription dated 1695 on title.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

POLAR - JAPANESE ANTARCTIC EXPEDITION 1910-1912Journal des Voyages, No. 875 [including a report on the Japanese Expedition], illustrations (including a photographic portrait of Shirase), as issued in wrappers with colour-printed illustration on upper cover, splitting at spine [Ross 3.14], folio, 7 September 1913Footnotes:A scarce and one of the first published articles to appear in Europe concerning the achievements of the Japanese Antarctic Expedition, which was almost totally overlooked beyond Japan. Written by Gustave Regelsperger, the text is in one column, accompanied by a photograph of Shirase seated in full uniform.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

MERIAN (MARIA SIBYLLA)Erucarum ortus, alimentum et paradoxa metamorphosis, engraved allegorical frontispiece by and after Simon Schijnovoet, portrait of Maria Merian engraved by J. Houbraken, engraved armorial headpiece opening dedication, 3 engraved decorative sectional titles, 150 engraved plates, spotting and browning (occasionally quite heavy), early vellum, gilt morocco spine label [Nissen ZBI 1342; Landwehr 135], small 4to (210 x 155mm.), Amsterdam, Johannes Oosterwijk, [c.1718]Footnotes:Maria Sibylla's Merian's important work on European entomology, the plates depicting butterflies and grubs in juxtaposition with flowers and blossoms. This first Latin edition appeared the year after her death in 1717, the publisher Johannes Oosterwijk having purchased the plates from Maria's daughter Dorothea.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

VALLET (PIERRE)Le jardin du roy tres chrestien Loys XIII, etched architectural title, portrait of Vallet, 93 etched plates (numbered 1-30, 32-57, 58-89, 91-95 and 99), all hand-coloured in a good later hand, without the portrait of Robin, light dampstain in the fore-margin of text leaves with some light pencil annotations in the margins, small light stain just touching image of plate 39, modern vellum [Nissen BBI 2039, calling for only 90 plates; cf. Hunt 187; Pritzel 9672], folio (343 x 216mm.), Paris, Pierre Vallet, 1623Footnotes:'THE FIRST IMPORTANT FLORILEGIUM... A WORK OF GREAT BEAUTY' (Blunt). First published in 1608, this second edition was expanded with a further 20 plates and re-dedicated to King Louis XIII. The flowering plants that Vallet depicts were collected and cultivated by Jean Robin, director of the royal gardens at the Louvre Palace. Robin had introduced a number of exotic flowers from Spain and the archipelagos off the coast of Guinea, and a brief synopsis of these is given in the text.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

VALLET (PIERRE)Le jardin du roy tres chrestien Henry IV, hand-coloured etched pictorial title-page and 15 etched plates only, all hand-coloured in a good modern hand, engraved portrait of Vallet, 5 leaves of text, all loose, folio, [Paris], Pierre Vallet, 1608This 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 (JOHN)Lexicon Technicum: or, an Universal English Dictionary of Arts and Sciences: Explaining Not Only the Terms of Art but the Arts Themselves, FIRST EDITION, engraved frontispiece portrait, title printed in red and black, 7 engraved plates (2 folding, one with old tear), numerous woodcut illustrations, list of subscribers (including Isaac Newton), upper fore-corner of title torn away with some loss to rule border, light dampstaining in lower fore-corner of approximately 20 leaves at end, modern quarter morocco [PMM 171a], small folio (320 x 202mm), Dan. Brown, Tim Goodwin, [and others], 1704Footnotes:The first edition of the 'first technical dictionary in any language. The most famous of his contributors was Isaac Newton' (PMM). A second volume was published in 1710.Provenance: Thomas Snyddon, 12 October 1788, ownership inscription on the front free endpaper.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

(BERKELEY) GEORGEAutograph letter signed ('G:Cloyne'), as Bishop of Cloyne, to Thomas Prior ('Dear Tom'), beginning by commenting on Lord Chesterfield's letter which '...does great honour to you...' and hoping his Society will follow up on his recommendations on glass and paper, warning him '...You have heard of the trick the glass men of Bristol were said to have paid Dr Helsham and Company...', and going on to present him with a painting by his wife ('...For my part I think she shows a most uncommon genius, but others may be supposed to judge more impartially than I...'), pleased that some of the local families are following their example but wishing that painting was more employed amongst '...ladies and idle people as a thing that may divert the spleen, improve the manufactures, and increase the wealth of the nation...', asking him to decline Mr Simon's request to join the Historico-Physical Society on his behalf ('...I must therefore depend on you for getting me out of this scrape...'), one page on a bifolium, integral freefront address panel signed 'G:Cloyne', docketed '...Mrs Berkeley presents to Mr Prior her painting of the Bishop now in M. Archdall's possession', dust-staining particularly to address panel, some small tears and old repairs, folio (315 x 202mm.), Cloyne, 3 July 1746Footnotes:ENCOURAGING THE ARTS AS A MEANS TO PROSPERITY: In a newly rediscovered letter, the Bishop of Cloyne presents a portrait of himself by his wife to his lifelong friend and agent Thomas Prior.George Berkeley (1685-1753) met fellow scholar Thomas Prior (1681-1751) at the Duke of Ormond's School in Kilkenny, alma mater of Jonathan Swift and William Congreve, and their correspondence runs from 1713 until 1747, reflecting a long friendship during which Prior acted as his Dublin agent and looked after his legal and financial affairs. Prior was a great advocate for the promotion of trade and industry in Ireland and, in 1731 had established the Dublin Society for the Promotion of Agriculture, Manufactures, Arts and Sciences (the 'Society' Berkeley mentions here) which subsequently became the Royal Dublin Society. At this time both men were interested in the use of tar-water as a means of helping their poor Irish neighbours during the years of famine that followed the winter of 1739-40. Berkeley published his last major work on the subject Siris:... concerning the Virtues of Tar-Water in 1744 and in 1746, the year of our letter, Prior dedicated his own treatise to Lord Chesterfield, with whom he had corresponded during the latter's spell as viceroy to Ireland (1745-6) and who held him in great regard (Gilbert and Carter, ODNB).By this letter, Berkeley presents Prior with a portrait of himself by his wife Anne (née Forster, c.1700-1786), who also shared his love of philosophy, music and the arts, and who had just taken up painting, much to his approval. Campbell Fraser refers to her portrait in his Works and the docket on our letter confirms his supposition that the portrait was latterly in the possession of the antiquarian Rev. Mervyn Archdall. As alluded to in our letter, Berkeley was a great advocate of the arts as a means to improvement, with his establishment at Cloyne renowned for its art collection and its passion for music, which he hoped would influence artistic activity in the region as a whole ('to be plain we are musically mad', he wrote). Amongst Berkeley's collection were several fine Old Masters including a Magdalen by Rubens and heads by Van Dyke and Kneller 'besides several good paintings performed in the house; - an example so happy that it has diffused itself into the adjacent gentleman's houses... The love of art as well as the love of truth... followed him into his contemplative old age' (Fraser, p.310). The present letter is part of a large correspondence which forms the backbone of all biographies of Berkeley through letters made available to the biographer Joseph Stock by descendants of Thomas Prior, who printed an extract of our letter in 1776. Stock's version is also included in Alexander Campbell Fraser's The Works of George Berkeley, D.D. Formerly Bishop of Cloyne, 1871, p.308, T.E. Jessop & A.A. Luce The Works of George Berkeley, Bishop of Cloyne, 1956, Vol.VIII, no.234 and Marc A. Hight The Correspondence of George Berkeley, 2003, no.337, but until now the full text of the letter has not been available to scholars. Fraser notes that 'Thomas Prior, to whom so many of them were addressed, was hardly one to draw out Berkeley's singular powers of reason and imagination', dealing as they do with practical and personal matters rather than the philosophical. They provide, nonetheless, an important insight into Berkeley's relationships and, for some periods of his life, remain the only record available of Berkeley's movements. Provenance: Private Collection, USA.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

BRUNEL (MARC ISAMBARD)Portrait of an elderly Marc Isambard Brunel (1769-1849), seated in an armchair at his writing table, pencil and watercolour, label on reverse 'Sir M.I.B. writing with his left hand after his stroke', 95 x 78mm., with frame 138 x 120mm., c.1845-1849Footnotes:The present image bears certain similarities to a watercolour by Dubuisson depicting Brunel and his wife Sophia sitting together and published in Celia Brunel Noble's biography, The Brunels: Father and Son, 1938, p.96. He was paralysed by a second stroke in 1845, necessitating his writing with his left hand as shown here. Brunel was painted several times in his career, by James Northcote in 1812-13 (NPG 978) and depicted in front of the Thames Tunnel by Samuel Drummond (NPG 89). The National Portrait Gallery also holds a pencil and chalk portrait of Brunel as an elderly man by William Brockendon (NPG 2525 (28)).Provenance: Isambard Brunel (1837-1902); his brother Henry Marc Brunel (1842-1903); his niece Celia Noble; her daughter Cynthia Noble; Miles Jebb, Lord Gladwyn; thence by descent to his niece, the present owner.For further information on this lot please visit Bonhams.com

FITZHERBERT FAMILYArchive of letters, documents and other papers pertaining to the FitzHerbert family of Tissington Hall, Derbyshire, including: i) Letter signed and subscribed ('Monsieur Mon Frere/ Votre bon Frere/ George R') to Louis XVI of France ('Le Roi Très Chretien'), in French, confirming Alleyne FitzHerbert as his Minister Plenipotentiary and asking him to trust everything he reports, assuring him of his esteem and enduring friendship, one pages on a bifolium, two red wax seals, marks, torn along fold, 4to (240 x 190mm.), St. James, 27 July 1782; ii) Notebook titled 'Judith FitzHerbert. Afghan War of 1878, 1879', containing transcriptions of letters home from Major Walter Hepburn Melitas FitzHerbert (1842-1930) of the Rifle Brigade during the second Anglo-Afghan war, describing his experiences on the hard march through the Khyber Pass in November 1878, talking of a different style of fighting in Afghanistan ('...Instead of acting like the Romans in a barbarous hill country, or like Cromwell in the Highlands we behave too much as if we were fighting against a civilized enemy... We should have no trouble in quieting the hill tribes if we went about it the right way...'), with copies of newspaper reports, list of officers killed, etc., 40 pages, marbled paper cover, 4to, 1878-1879;iii) Autograph letters and ephemera, including a manuscript design for a chair for Lady FitzHerbert ('These are the exact sizes of the seat & back frames'); map showing the track of various ships to Canada, 1835; seventeen leaves from an eighteenth-century scrapbook with various newspaper cuttings, engravings, receipts etc, pasted in; historical notes, receipt book of Robert Dove, 1857, other receipts, 'Prices of Turkey Carpets at the Levant Warehouse... 1839', 'List of Treasures at Tissington Hall, 1896', knitting instructions for a baby's sock and other items, printed playbill advertising The Wife's Secret (with Charles Kean, 1848), printed sermons, advertisements etc., three cabinet photographs and three carte de visite, various envelopes, etc.; with over 25 autograph letters and postcards to and from the FitzHerberts at Tissington Hall and elsewhere from around the world, the majority concerned with family matters, c.80 pages, various sizes, early to mid nineteenth century; four commissions addressed to Richard Henry FitzHerbert, one signed 'William R', three signed 'Victoria R', on vellum, the last paper, with paper seals and duty stamps, c.290 x 390mm. and smaller, 1833, 1839, 1848, 1856; with three passports (R.H. FitzHerbert, 1836, with European stamps, Richard Henry FitzHerbert and daughter, 1870, Richard Arkwright FitzHerbert, 1907, with stamps for Peking and Russia);iv) Printed playscript, The Man of the World, A Comedy by Mr Charles Macklin, with manuscript list of subscribers dated 20 February 1794 bound into front ('...Mr Fitzherbert this Book to be kept 4 Days...'), original paper wrappers, 8vo, printed by John Bell, London, 1793; Manuscript notebook containing standing orders for parliament, 186 numbered pages, in ink with red rules, inscribed 'St Helens 1803' on first leaf, marbled ends, red calf gilt with cipher of George III on front board, titled 'Standing Orders' on spine, slight wear, 4to, c.1803; Goldsmith's Almanac for 1813 with manuscript notes mentioning Bonaparte and Wellington's victories, dark blue calf, 12mo; Reliquiae Sacrae Carolinae. Or the Works of that Great Monarch and Glorious Martyr King Charls the I, manuscript annotations to first leaf, ownership inscription 'W FitzHerbert. This book was thus bound & mounted by Annie FitzHerbert His late dear Wife. Tissington Hall. Feb 12 1865', blue velvet with metal edges and clasp, portrait of Charles I on front board, printed by Samuel Browne, Hague, 1650, etc.Footnotes:The FitzHerbert family owned property at Tissington and throughout Derbyshire, with estates in Kent, Nottinghamshire, Surrey and Lincolnshire. Tissington Hall remains in the family to this day. The Baronetcy was conferred on Sir William FitzHerbert (1748-1791) in 1784 by George III for his role as 'Gentleman Usher to the King' and through his marriage to Sarah Perrin inherited five plantations in Jamaica. His younger brother Alleyne FitzHerbert (1753-1839) had a long and successful career as a diplomat, firstly as minister at Brussels and in 1782, as our letter of appointment from George III shows, was despatched to Paris as plenipotentiary to negotiate a peace with France and Spain and with the States General of the United Provinces at the end of the American War of Independence. He continued his career at the court of Catherine the Great at St Petersburg and as Chief Secretary for Ireland. Much of the archive dates from the nineteenth century and includes first-hand accounts of the Afghan War and much family material.For further information on this lot please visit Bonhams.com

HALL (JOSEPH)The Works, title within wide woodcut architectural border, lacks portrait and blank 3H5, endpapers creased, contemporary calf, sides with single gilt rule border enclosing central gilt and blind-stamped arabesque, old manuscript vellum used as binder's waste, worn, losses to spine, Melton Literary Institution label on upper cover [ESTC S92832], folio, Nath. Butter, 1635; Episcopacie by Divine Right Asserted, with opening blank, contemporary calf, red edges to text block, 2 old worm trails to spine [ESTC S103631], small 4to, R.B. for Nathanael Butter, 1640--CHARLES I. Eikon Basilike [in Greek] The Works, second edition, additional engraved title incorporating a portrait, and Royal arms, lacking the 2 plates and lower free endpaper, contemporary calf, worn, joints cracked [ESTC R6734], folio, Richard Chiswell, 1687--LAUD (WILLIAM) The History of the Troubles and Tryal of the Most Reverend Father in God, and Blessed Martyr, William Laud, title printed in red and black, engraved frontispiece portrait on verso of half-title (slightly shorter, repaired in blank horizontal margins) [ESTC R354], R. Chiswell, 1695; Second Volume of the Remains, [ESTC R200966], Sam. Keble, 1700, 2 works bound in 1 vol., later polished calf, gilt spine with morocco label, joints weakened, folio; and another, by Joseph Hall (5)Footnotes:Provenance: First, Revd. William Woodcote, bequeathed to his cousin Cheevor Woodcote and friend William Latham, by whom given to the 'Melton Institutional Library... he died in the West Indies Oct. 8th 1857', manuscript note inside the upper cover; Third, Frederick Adolphus Philbrick, bookplate; Third, Nicolas Docton, ownership inscription dated 1708 on second volume of Laud; J. Brown Craven, Bibliotheca Lavdiana, 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

LUNARDI (VINCENZO)An Account of the First Aerial Voyage in England, in a Series of Letters to his Guardian, Chevalier Gherardo Compagni, Written under the Impressions of the Various Events that Affected the Undertaking, FIRST EDITION, SIGNED BY THE AUTHOR for authentication on the half-title, engraved frontispiece portrait of the author by Bartolozzi after R. Cosway, 2 folding engraved plates, advertisement on final leaf, some spotting and off-setting, later polished calf gilt, g.e., joints rubbed, 8vo, for the Author, 1784Footnotes:Lunardi (1759-1806), an Italian diplomat, made the first British ascent in a hydrogen balloon on 15 September 1784, the success of which made him the most 'prominent figure in the early annals of aerostation in England, while his exploits undoubtedly encouraged the vogue of ballooning in those early days' (Hodgson, The History of Aeronautics in Great Britain, 1924).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

[SHELLEY (PERCY BYSSHE)]FILICAJA (VINCENZO DA) Poesie toscane. Aggiunto il di lui Carteggio relativo alle sudette poesie. Edizione formata sopra quella di Martini de 1707, 2 vol., INSCRIBED BY PERCY BYSSHE SHELLEY TO CLAIRE CLAIRMONT 'To dearest Clare from her affectionate P.B.S., April 1821' on initial blank, engraved portrait frontispiece, contemporary green morocco, covers gilt lettered with initials W.J.S.P. and crest within two-line gilt border, flat spine elaborately gilt in 6 compartments, g.e., 12mo (123 x 84mm.), Venice, Vitarelli, 1812Footnotes:INSCRIBED BY PERCY BYSSHE SHELLEY TO CLAIRE CLAIRMONT - HIS WIFE'S STEPSISTER AND THE MOTHER OF BYRON'S CHILD. It was Claire who brought Percy and Mary Shelley to Byron in Lake Geneva, in the famous summer of 1816. Books with Shelley presentation inscriptions are exceptionally rare, the present example embodying his intense connection to one of the two most important women in his life.Clara Clairmont (1798-1879), known as Claire, was the illegitimate child of Mary Jane de Vial, calling herself Mrs Clairmont, and Sir John Lethbridge. When Mary Clairmont married William Godwin in 1801, Claire became the stepsister of his daughter Mary.Several years later, in 1814, Claire accompanied Mary in her elopement with Percy Bysshe Shelley to the continent. After Claire returned to England she initiated, in March or April 1816, a liaison with Lord Byron. 'She introduced Mary Godwin to Byron and then arranged to draw Shelley and Mary Godwin to Byron's neighbourhood on Lake Geneva in that summer, where Shelley and Byron began their lifelong literary relationship and Mary Godwin began Frankenstein. During this summer Claire Clairmont discovered that she was pregnant by Byron. The Shelley party returned on 8 September to England, where Claire Clairmont gave birth on 12 January 1817 to Clara Allegra (1817–1822)...'In March 1818 the Shelley party set out for Italy, and Claire Clairmont allowed Allegra to be taken to Byron in Venice, with the understanding that the child should not be separated long from one or the other of her parents' (ODNB). A scandal about another baby, born in Naples to unclear parentage, led to Byron placing Allegra out of Claire's reach in the convent of Bagnacavallo where, as her mother had predicted, she died, on 19 April 1822. Shelley himself would die at sea in a storm later that year, on 8 July.The nature of Shelley's relationship with Claire has long been debated. Certainly, the poem he wrote for her in 1817, 'To Constantia Singing', burns with longing:    My heart is quivering like a flame:    As morning dew that in the sun dies,    I am dissolved in these consuming ecstasies.It is likely that the present volumes were a present for Claire's twenty-third birthday on 27 April 1821. Their author, Vincenzo da Filicaja (1642-1707), was a lyric poet beloved by Shelley and his circle. Poesie toscane was particularly suitable for Claire, who had made Florence her home. Filicaja's most famous sonnet, included in the present collection, is perhaps 'Italia, Italia, O tu cui feo la sorte', translated and included by Byron in 'Childe Harold's Pilgrimage' ('Italia! oh Italia! thou who hast / The fatal gift of beauty'), whilst Mary Shelley included a brief biography of de Filicaja in her Italian and Spanish Lives.We have traced only 9 books with Shelley's presentation inscriptions, of which at least 6 are in institutions:1. Original Poetry by Victor and Cazire (1810) 'Thos Medwin - / a present from / one of the authors', probably Shelley but conceivably his sister and co-author Elizabeth; NYPL.2. Queen Mab (1813) to 'Mary Wollstonecraft Godwin, P.B.S.'; Sotheby's, August 1879; Brayton Ives; Huntington Library.3. A Vindication of Natural Diet (1813) 'To John Grove Esq.r / from the author'; NYPL.4. Alastor (1816) 'To Mr. [Edward] Hookham / with the Author's Compts'; Christie's New York, 18 November 1988, lot 315; present location unknown.5. Laon and Cythna (1818) 'From the Author'; Christie's New York, 15 December 2005, lot 525; present location unknown.6. Cenci (1819) to 'J[ohn]. Taaffe Esqr'; NYPL.7. Adonais (1821) 'To my dear friend Leigh Hunt / PBS'; Christie's New York, 9 October 2001, lot 106; present location unknown.8. Adonais (1821) to Thomas Love Peacock; BL. 9. Adonais (1821) to Sir Charles Hyde; Huntington Library.- To which we can now add a tenth, Claremont's Poesie toscane.Provenance: Claire Clairmont (1798-1879); William Francis Spencer Ponsonby, 1st Baron De Mauley (1787-1855), arms on covers. Ponsonby's sister, the novelist Lady Caroline Lamb, also had a love affair with Byron, famously describing him as 'mad, bad, and dangerous to know'; his son Ashley Ponsonby (1831-1898); his sale, Christie, Manson & Woods, 4-8 May 1897, lot 319, sold to 'Ridler' (presumably William Ridler, London bookseller, fl. 1877-1904); Henry Beckles Willson (1869-1942), Canadian historian and journalist.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

WHITE (GILBERT), SELBORNE AND THE HOLT-WHITE FAMILYAn archive of books, watercolour and scrap albums, photographs, portrait miniatures, silver and other ephemera relating to the White, and Holt-White families, including: HOLT-WHITE (RASHLEIGH) The Life and Letters of Gilbert White of Selborne, 2 vol., AUTHOR'S COPY, EXTRA-ILLUSTRATED with c.55 additional plates (of which approx. 20 photographic, including images of the Selborne Great Oak, the house, etc.), several autograph letters by later family members, and manuscript receipts of eighteenth century, green half morocco gilt, by F.T. Neale of Hastings, John Murray, 1901Silver tray, with the arms of Rebecca White (nee Luckin, 1664-1755) who married the vicar of Selborne in 1687, together the grandparents of Gilbert White (1720-1793), diameter 256mm., hallmarked John Robinson, 1746Album, with artwork attributable to Mary (b.1809), Caroline (b.1811) and Anna Holt-White (b.1813) and other family members, approx. 42 pencil drawings, 18 watercolours (botanical, costume, portraits), of which many signed with initials, 1 gouache of Switzerland, 4 watercolours on rice paper, mostly mounted one per page, contemporary morocco, covers detached, 4to, [c.1832-1840]Album, belonging to Louisa Rose White (1804-1870), approx. 155 mounted engraved or lithographed views of British scenes (including one of White's residence at Selborne), loosely inserted a lithographed plan with view of the Selborne Estate issued for the auction held by George Robins on 28 July 1840, contemporary half morocco, rebacked, folio, [c.1840]Album, associated with Algernon Holt-White (1807-1880), with newspaper cuttings, printed ephemera (electioneering, schools projects, etc), architectural drawings (including 'Plan of the Intended Lodge at... Clements Hall, the Residence of A.W. Holt' signed by G.B. Crowes, Surveyor, 1842), all loose, original calf, worn, folio, [1840/50s]A collection of approximately nine portrait miniatures, mostly of members of the Holt-White family, mostly mounted, framed and glazed, various sizes, [late nineteenth-early twentieth century]Miscellaneous others, including 2 twentieth century albums of watercolours, an album of nineteenth century cuttings with a signed document by Leon Gambetta, approximately 40 albumen and silver gelatin photographs, etc. (collection)For further information on this lot please visit Bonhams.com

CHURCHILL (WINSTON)Signature ('Winston S. Churchill') in ink, beneath a pencil portrait by Sylvia Arnold, affixed to a mount with calligraphic quotation from his 4 June 1940 speech in ink below ('We shall fight on the seas and oceans...'), signed and dated by the artist 'Sylvia Arnold/ 1940' on the portrait, 400 x 280mm., with frame 550 x 420mm., 1940Footnotes:Sylvia Arnold joined the office of Lord Hastings Ismay, Churchill's chief military advisor, as a teenager in 1938, and worked in the Cabinet War Office from 1938 to 1947. She travelled with Ismay to Yalta in 1945 and on the RMS Queen Mary with Churchill to America. Another sketch of Churchill, together with her collection of wartime letters, photographs and memorabilia was included in the Sylvia Arnold and the Role of Women in World War Two exhibition at the Jewish Military Museum, Hendon, in 2013. Provenance: Sotheby's, 4 December 1972, lot 464; Christie's South Kensington sale; Private Collection, UK.For further information on this lot please visit Bonhams.com

A late 19th century miniature portrait after Raphael, of the Madonna Della Sedia, on porcelain arched plaque, in pierced and engraved gilt metal triptych easel frame, 13.5cm high overall, together with a collection of other small items, to include a silver card case, vesta case, and circular pill box, the latter inset with a George II coin, a Victorian silver baby's rattle whistle (lacking coral teether), a Victorian silver and mother o'pearl folding fruit knife, a white metal heart shaped box, a scent bottle, a pair of lorgnettes, a needle case and a manicure tool. (qty)

An antique painted metal 'Jacobite' snuff box, of circular form, the exterior painted in dark green, the lid revealing a secondary secret lid painted with an enamel portrait of Charles Edward Stuart, in green and red tartan cloak, 7cm wide.Condition report: Small amount of paint loss to edge of lid and an old repair to the centre. Small losses/chips to paint on edge of base and the same to the lid, which has a 'varnished' border to stabilise. Small chip to left of centre and some crazing. Age related wear, patination and marks throughout.

A collection of American silver flatware, comprising four various serving spoons/slices, a pair of table spoons with portrait roundel terminals, four similar pieces, a sauce ladle, three various pierced spoons, a pair of salad servers, and other similar pieces, 36oz overall. (qty)

A reliquary pendant, containing portrait miniatures of a Christian Saint and possibly the Virgin Mary, to a yellow metal scalloped frame with ropetwist borders, length 4.3cmCondition report: Heavy scuffs, scratches, chips and crazing to the glazing, which partly obscures the view of the portraits beneath. Losses, patchy discolouration, scuffs and scratches to the miniatures on both sides. The mount has scuffs, scratches, chips and nicks throughout, with dents/dings and occasional fine splits. Some of the scalloped panels are split, dented or mis-shapen. The loop fitting has been heavily filed to one side. Dimensions of pendant approx. 4.3cm x 3.5cm x 1cm depth. Metal standard is untested. Gross weight approx. 29gm.

A Seiko gentleman's gold-plated wristwatch; a Pulsar Kinetic watch; lady's Montine gold-plated watch; portrait frame fob, 20mm diameter, marked 9ct; a yellow metal brooch set with a circular 37mm diameter cabochon cut banded agate; white metal dog charm; costume jewellery necklace, brooch, earrings.

19th century KPM style plaque finely painted with a portrait of a young girl, the reverse with label for No 2391 Wilhelm Mezler, No 27, the plaque in black wooden frame, image 15cm x 11cm

Alfred (Bernard) Meyer (1832-1904), signed (lower left), enamelled miniature in the Limoges Renaissance Revival style, head and shoulders portrait of (Jacopo) Sansovino (1479-1570), image size 7cm x 5cm within a pigskin covered small easel backed frame (frame with defects). Note: Jacopo Sansovino was an Italian architect and sculptor, best know for his work around the Piazza San Marco including the Biblioteca Marciana and the Loggetta of Campanile di San Marco.

British School, 19th Century, A portrait of a lady, reportedly Lady Hamilton (label verso), watercolour on paper. 4.5x4ins.

Giuseppe Cali (Maltese 1846-1930) A Portrait of a Maltese Fisherman, Oil on canvas. 19.5x14insQty: 1

Indian School, 19th Century, An equestrian portrait of a young man wielding a spear (4x2"), together with a separate example of a battle and hunt scene 10x5ins.

Continental School, A portrait of a lady in classical dress, oil on canvas, 21.5x18ins.

Ernesto Serra (Italian, 1860-1915), Portrait of a Young Man, oil on canvas, 28x18ins