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Los 507
* SIR HERBERT JAMES GUNN RA RP (SCOTTISH 1893 - 1964), PORTRAIT OF SILVANUS NICOL oil on canvas, signedframedimage size 92cm x 72cm, overall size 100cm x 80cm Note: Painter, born in Glasgow, Scotland who studied at Glasgow School of Art, Edinburgh College of Art and at the Académie Julian in Paris under J.P. Laurens. His life as a painter was interrupted by World War I, in which he lost two brothers, and he enlisted with the Artists' Rifles in 1915 being commissioned into the 10th (Scottish) Rifles in 1917. James Gunn as he was known exhibited at RA, RSA, Paris Salon and elsewhere. Elected an Associate of the RA, 1953, and RA, 1961, RSW, 1930 and was also President of the Society of Portrait Painters. He painted the State Portrait of HM Queen Elizabeth II in her 1953 coronation robes and was knighted in 1963. The SNPG held a retrospective exhibition in 1994. His work is in the collections of Aberdeen Art Gallery, Cartwright Hall Museum, City of Edinburgh Art Collection, Dundee University, Fitzwilliam Museum, Cambridge, GAC, Harris Museum and Art Gallery, Preston, Hunterian, IWM, Jersey Heritage, Kelvingrove Art Gallery and Museum, Museums Sheffield, National Museums Liverpool, NMM, National Museums Northern Ireland, NMW, NPG, National Trust, Plymouth Art Gallery, Potteries Museum and Art Gallery, Rochdale Arts & Heritage Service, Slade School, SNPG and the Tate Gallery.
Los 645
* HENRY RAEBURN DOBSON (SCOTTISH 1901 - 1985), STILL LIFE oil on canvas, signedframedimage size 34cm x 45cm, overall size 44cm x 54cm Note: Henry Raeburn Dobson was the youngest son of Henry John Dobson. At the end of the 1920s he left Edinburgh to pursue his career as a portrait painter in London, where his brother Cowan was already an established portrait painter. Following service in World War 2 Raeburn Dobson returned to live and work in Edinburgh. He was also a frequent visitor to Brussels where he also painted many portraits.
Los 491
JAMES ELDER CHRISTIE NEAC (SCOTTISH 1847 - 1914), THE WOODCUTTERS oil on canvas, signed, titled versoframedimage size 61cm x 35cm, overall size 82cm x 56cm Label verso: Louise Kosman, EdinburghNote: James Elder Christie was a portrait and genre painter. Christie received his artistic training at art school in Paisley and South Kensington. He became known for his portraits, paintings of children, moral allegories and illustrations to the poetry of Robert Burns. He won two gold medals at the Royal Academy in 1876 and 1877. In the 1870s Christie attended life classes in M. Barthe's studio in Limerston Street, in Chelsea, classes which Whistler also attended at this time. On 9 November 1882 he was elected an artist member of Glasgow Art Club, resigned on 15 February 1889. In 1893 he moved back to Glasgow, and was re-elected to the Club on 20 December 1894, and finally elected as an honorary member on 29 December 1913. Following a period in Paris, Christie joined the New English Art Club. Forty-five or his paintings are held in UK public collections.
Los 615
FRANK CRAWFORD PENFOLD (AMERICAN 1849 - 1921), SKETCH - WOMAN READING A FRENCH BOOK oil on panel, signedframedimage size 20cm x 16cm, overall size 28cm x 23cm Note: artist, teacher, lecturer, known for marine/seascape, genre, landscape, and portrait paintings, especially of the Brittany region of France. Penfold came from a family of artists, the son of the portrait painter, William Penfold (English born-American, 1827-1875), who was active in Lockport and Buffalo, New York and his mother, Maria Chubbuck (née Chapman) Penfold (1828-1919) married September 19, 1847, was also an accomplished artist. He had six younger siblings to include, brothers, John Penfold (1850- ), William Chapman Penfold (1853-1928) who became a fresco artist in Erie, PA, Charles Chubbuck Penfold (1854-1911) who designed engraved and manufactured fine jewelry in Buffalo, NY, beginning in 1872, and sisters Ida Parmelia Penfold-Thayer (1854-1934), Lillian "Lillie" Penfold-Baker (1857-1915) and Marie Dollie Penfold (1867-1927). Frank’s father originally wanted him to become an engraver, but one day at school Frank drew a sketch of the old schoolhouse in Lockport, NY in the back of an atlas. The principal at the time, Mr. Porter was charmed with the sketch and asked Frank to paint it on canvas. Frank and his younger brother used to clean up their father’s studio every evening, washing brushes and palettes, and unknown to his father, saved enough paint from his father’s palette to finish the piece. Mr. Porter was pleased with the painting and had it framed and exhibited. From that time forward Frank trained with his father in portraiture and other painting styles. One of his earliest known portraits was of "Addison Roberts" of Hornell, NY, husband of Marie (née Helmer) Roberts, painted in 1873. It was was also noted on the back of the painting that Penfold was listed as an artist in Buffalo and Paris. Frank had moderate success while living in Buffalo but decided to further his studies abroad. Around 1877, he travelled to France and later settled in Pont Aven, Brittany where he also taught in the artists’ colony. He studied in Finistère, Brittany, France and also trained at the Académie Julian in Paris in 1884. He occasionally returned to Buffalo, NY and in 1891, taught a class at the Buffalo Fine Arts Academy, Albright Art Gallery. On November 22, 1897, Frank married Jeannie "Jennie" Gerard (née Green-Wells [Wells adopted last name]) Redfern-Corbett-Penfold (1849-1921) at her home in Johnson Park, Buffalo, NY with whom he had an adopted daughter (from Jeannie's brother, Charles Edward Green, whom she and Frank later legally adopted on June 3, 1912), named Jane "Jennie" May Green Penfold-Harkness-Pinnington (1892-1970). Frank Penfold remained an influential figure in the Buffalo art scene and also helped organize the Municipal Art League in Chicago, IL in 1901. He was a member of the Buffalo Society of Artists and served as President in 1896, Buffalo, NY. He alternated between two homes, one in Pont Aven, France where he maintained a studio in Concarneau, Finistère, Bretagne, France and another at 32 Johnson Park, Buffalo, NY.
Los 652
JOSEPH HENDERSON RSW (SCOTTISH 1832 - 1908) ROW BOAT COMING IN TO SHORE oil on board, signed and dated 1878framedimage size 50cm x 80cm, overall size 59cm x 88cmNote: Joseph Henderson was born on 10 June 1832 in Stanley, Perthshire, He was the third of four boys. When he was about six, the family moved to Edinburgh and took up residence in Broad Street. The two older boys joined their father, also Joseph, as stone masons. Joseph’s father died when Joseph was eleven leaving his mother, Marjory Slater, in straightened circumstances. As a result, Joseph and his twin brother, James, were sent to work at an early age and the thirteen-year-old Joseph was apprenticed to a draper/hosier. At the same time, he attended part-time classes at the Trustees’ Academy, Edinburgh. At the age of seventeen, on 2 February 1849, he enrolled as an art student in the Academy. From the census of 1851, Marjory, Joseph and James were living at 5 Roxburgh Place, Edinburgh. Marjory was now a ‘lodging housekeeper’ with two medical students as boarders. James was a ‘jeweller’ while Joseph was a ‘lithographic drawer’. In the same year Joseph won a prize for drawing at the Academy enabling him, along with fellow students, W. Q. Orchardson, W. Aikman and W. G. Herdman, to travel to study the works of art at the Great Exhibition in London, which he found to be a very formative experience. He left the Academy about 1852-3 and settled in Glasgow. He is first mentioned in the Glasgow Post Office Directory for 1857-8 where he is listed as an artist living at 6 Cathedral Street. Joseph Henderson’s first exhibited work was a self-portrait which was shown at the Royal Scottish Academy (RSA) in 1853. He painted several portraits of friends and local dignitaries including a half-length portrait of his friend John Mossman in 1861. His painting, The Ballad Singer established his reputation as one of Scotland`s foremost artists when exhibited at the RSA in 1866. Throughout his career he continued in portraiture. He executed portraits of James Paton (1897) a founder and superintendent of the Kelvingrove Art Gallery and Museum (this portrait was bequeathed to Kelvingrove in 1933) and Alexander Duncan of the Faculty of Physicians and Surgeons of Glasgow. He also painted Mr. Scott Dickson, Sir Charles Cameron, Bart., DL, LLD (1897) and Sir John Muir, Lord Provost of Glasgow (1893). His portrait of councillor Alexander Waddell (1893) was presented to Kelvingrove in 1896. However, it is probably as a painter of seascapes and marine subjects that he became best known. His picture Where Breakers Roar attracted much attention when exhibited at the Royal Glasgow Institute (RGI) in 1874, ‘as a rendering of angry water’. Henderson was in part responsible for raising the profile and status of artists in Glasgow and was a member of the Glasgow Art Club (he was President in 1887-8), the Royal Glasgow Institute of the Fine Arts (founded 1861) and the Royal Society of Painters in Watercolour. Between 1853 and 1892, he exhibited frequently at the RSA and at the RGI and between 1871 and 1886 he had twenty pictures accepted for the Royal Academy in London. In 1901 he was entertained at a dinner by the President and Council of the Glasgow Art Club to celebrate his jubilee as a painter. He was presented with a solid gold and silver palette. An inscription on the palette read: ‘Presented to Joseph Henderson, Esq., R.S.W. by fellow-members of the Art Club as a mark of esteem and a souvenir of his jubilee as a painter, 8th January 1901’ Joseph Henderson was married three times. On 8 January 1856 he married Helen Cosh (d. 1866) with whom he had four children including a daughter Marjory who became the second wife of the artist William McTaggart. On 30 September 1869 he married Helen Young (d. 1871) who bore him one daughter and in 1872 he married Eliza Thomson with whom he had two daughters and who survived him. Two of his sons, John (1860 – 1924) and Joseph Morris (1863 – 1936) became artists; John was Director of the Glasgow School of Art from 1918 to 1924. By 1871 he had moved with his family; wife Helen, daughter Marjory and sons James, John and Joseph and his mother Marjory from Cathedral Street to 183 Sauchiehall Street. He also employed a general servant. He is described in the census as a ‘portrait painter’. In 1881, Joseph was living at 5 La Belle Place, Glasgow with Eliza, two sons and four daughters. He later moved to 11 Blythswood Square, Glasgow. In the 1901 census he was still at this address with his wife Eliza, sons John and Joseph and daughter Mary and Bessie. His occupation is ‘portrait and marine painter’. Joseph Henderson painted many of his seascapes at Ballantrae in Ayrshire. At the beginning of July 1908, he again travelled to the Ayrshire coast. However, he succumbed to heart failure and died at Kintyre View, Ballantrae, on 17 July 1908 aged 76 and was buried in Sighthill cemetery in Glasgow. A commemorative exhibition of his works was held at the RGI in November of that year. A full obituary was published in the Glasgow Herald. As well as his devotion to art, Joseph Henderson was a keen angler and golfer. A contemporary account states that he was ‘frank and genial, with an inexhaustible fund of good spirits and a ready appreciation of humour, of which he himself possesses no small share’. Thirty-six of his paintings are held in UK public collections.
Los 565
* LAURENCE BRADSHAW (BRITISH 1899 - 1978) PINE TREE pastel on paper, signed 'L H B' and dated '77mounted, framed and under glassimage size 41cm x 29cm, overall size 63cm x 49cm Note: Sculptor, painter, engraver, stage designer, author. Born in Liscard (Wallasey), Cheshire. According to his family and confirmed by his baptismal record, Laurence's father was Peter Bradshaw, a commercial traveller. However, based on the Census Returns, probably by 1901 and certainly by 1911 Laurence and his mother, Annie Henderson (born c.1866 or c.1871 in Scotland) were described as son and wife of John Bradshaw (born in Liverpool or Warrington, Lancashire c.1869), antique dealer and bookseller. It is presumed that Peter Bradshaw changed his name to John c.1900. Laurence started his higher education at the University of Liverpool during the First World War and then (c.1916) began studying painting at Liverpool School of Art with William Penn. He was advised to study sculpture as well and, after attending some classes in Liverpool (presumably under Charles John Allen then teacher of modelling), he completed his studies in London and Paris. In London, Bradshaw studied at Leon Underwood's Brook Green School of Drawing (dates uncertain). During the mid-1920s Bradshaw worked first as a pupil and then as an assistant to Sir Frank Brangwyn. One of Bradshaw's earliest commissions for sculpture was a series of low reliefs c.1928 for the Brompton Oratory (London) depicting the life of Saint Philip Neri founder of the Oratorian Order. Other commissions followed including: Radcliff Maternity Home (1935); Watford Town Hall; Cambridge Guild Hall; the County Offices in Winchester; and Worthing Town Hall. Private commissions were also an important part of his practice, over a long career he made many portrait busts of writers, politicians, poets, journalists and actors. His most famous work, however, was the memorial to Karl Marx in Highgate Cemetery (1956). This reflected his political beliefs. Bradshaw was a committed communist and worked actively in politics throughout his career.
Los 478
HENRY MOORE RA RBA RWS (BRITISH 1831 - 1895), UNLOADING THE CATCH oil on canvas, signed and dated 1872framedimage size 34cm x 59cm, overall size 44cm x 70cmNote: A member of a distinguished family of Yorkshire artists, Henry Moore rose to become one of the best marine painters of his day. Working in both oil and watercolour, he treated the sea ‘as a subject sufficient in itself, rather than simply the background of a battle, shipwreck, or even landscape’. Henry Moore was born at 14 Castlegate, York, on 7 March 1831, the tenth of fourteen children of the portrait painter, William Moore, and the second son by his second wife, Sarah Collingham. Four of his brothers were artists: Edwin Moore, William Moore Jr, John Collingham Moore and, most notably, the youngest, Albert Moore, a leading painter of the Aesthetic Movement. Henry Moore studied under his father before attending York School of Design, from 1851. Two years later, in 1853, he moved to London, where he joined his brother, John, in lodgings near Oxford Street, and began to exhibit at the Royal Academy, even before he entered the Royal Academy Schools at the end of the year. Indeed, while he remained at the RA Schools for only a few months, he continued to exhibit at the RA almost annually. In 1855, he also began to exhibit at the Society of British Artists, the British Institution and the Portland Gallery. He spent the summers of 1855 and 1856 painting the mountains of Servoz, near Chamonix, and first became known for producing Alpine as well as British landscapes in the Pre-Raphaelite manner. In 1857, a series of visits to Clovelly on the north Devon coast inspired Moore to turn to marine subjects, and especially panoramic vistas of the open sea, which he believed had not been fully achieved in painting before. In the decade or so following his marriage to Mary Bollans, of York, on 19 July 1860, he divided his time between landscapes and seascapes, and developed a reputation for his precise observation of the atmosphere and form of the sea. However, he gradually modified his style, employing broader handling and bolder colour. The evolution and increased mastery of his work were based on extended experience and careful study, made on board ship as well as from land. He was known to cross England in order to observe a bad storm. Though elected a member of the Society of British Artists in 1867, Moore resigned eight years later, at the time that he began to devote himself completely to seascapes. He exhibited these at a wider range of metropolitan venues, including the Dudley Gallery, the Grosvenor Gallery (founded in 1877) and the New Gallery (founded in 1888), and in the provinces. Elected to the membership of the Royal Society of Painters in Water-Colours (ARWS 1876, RWS 1880) and the Royal Academy (ARA 1885, RA 1893), he was also awarded the grand prix at the Exposition Universelle, Paris (1889) and, as a result, the Légion d’honneur. In 1887, the Fine Art Society mounted a large solo show of his work, while he was represented alongside his father and brothers in an exhibition devoted to the Moore family of painters in York in 1895. For much of his career, Moore had lived in Sheffield Terrace, Kensington, and it was there that he and his wife brought up their two daughters, Agnes and Florence, the first of whom became a painter of flowers. However, late in the 1880s, they moved to 39 Maresfield Gardens, Hampstead. Henry Moore died at the High Cliff Hotel, Margate, on 22 June 1895. His work is represented in numerous public collections, including the British Museum, Tate and the V&A; and Birmingham Museums and Art Gallery, Leamington Spa Art Gallery & Museum, Manchester Art Gallery and York Art Gallery.
Los 493
WILLIAM BRADLEY LAMOND RBA (SCOTTISH 1857 - 1924), MAKING BANNOCKS oil on canvas, signed, titled label verso framed image size 36cm x 46cm, overall size 47cm x 55cm Label verso: Forrest McKay, Edinburgh Provenance: Bonhams, Edinburgh, 9th June 2011 lot 167. Note: William Bradley Lamond was born at Newtyle, Angus. He had no formal art training and worked for the Caledonian Railway company for many years. He initially specialised in portraits and later worked on landscapes which have been described as "vigorous impressionistic scenes in oil – with a strong use of colour". He was elected a member of the Royal Society of British Artists in 1906, and exhibited at the Royal Academy (London), Royal Scottish Academy and Glasgow Institute of the Fine Arts. William Bradley Lamond first publicly exhibited his work at Dunfermline's Fine Art Exhibition in 1883, followed by the Dundee Fine Art Exhibition in 1884. Five years later he showed at the Royal Scottish Academy for the first time with the painting "A Mile Abune Dundee". In 1890 he became one of the founding members of the Dundee Graphic Arts Association and had work shown at Robert Scott's gallery in the city. His first notable commission came the following year – a presentation portrait of Sgt Major Kilgour of the Dundee Highlanders. Around 1894, he hit on one of his most profitable subjects – shore scenes featuring seaweed gatherers at work with horse and cart. He showed one such scene at Scott's which the Evening Telegraph hailed alliteratively as "a brilliant bit of brightsome work". It was soon bought by a local collector and Lamond painted many more variations on the same theme, including "A Breezy Day" (1896). In 1895 he had his most successful year yet, showing at the Glasgow Institute and the RSA and ending with an exhibition of paintings and sketches in his studio at 61 Reform Street. Although Lamond eschewed modern art, his compositions were often regarded as distinctive due to his preference for capturing particular effects rather than selecting subject matter because of its social or symbolic meaning, in contrast to other Dundee painters such as John Duncan or Stewart Carmichael. In 1898, 60 of his paintings were auctioned by William Fyfe at the City Assembly Rooms, fetching prices of up to 19 guineas. In 1900 he showed at the Royal Academy (London) for the first time and soon began to cultivate a London audience. In 1902 he opened his first one-man show in London, at Clifford's Gallery in Haymarket. Although many Dundee illustrators and cartoonists had enjoyed success in London (such as Martin Alexander and Max Cowper), the city's painters had rarely made such an impact in the capital. Lamond returned to London in 1903 to undertake a number of commissions and later that year was elected a member of the Royal Society of British Artists, recognised as "a painter of strength, with a true eye for colour harmonies and a special aptitude for interpreting the beauties of northern landscape and coast scenery". He continued to show work at the exhibitions of the RBA, RSA, Glasgow Institute and GAA but A, but in 1906 his health broke down. By summer 1908 Lamond was back in Dundee, where he held an exhibition of his latest work in his new studio at 3 Constitution Road; the following year he moved to 27 Bank Street where he would remain for the rest of his life. In 1915 he gained a celebrity patron in the person of music hall legend Harry Lauder, who commissioned two paintings from him and visited him periodically in both Dundee and Auchmithie. During the Great War, Lamond continued to paint as much as ever, spending his summers in Auchmithie then showing the results in exhibitions in his studio each autumn. Lamond died of pneumonia in 1924 at his home in William Street. Thirty-two of William Bradley Lamond's paintings are held in Scottish public collections.
Los 559
WILLIAM OLIPHANT HUTCHISON PRSA RP (SCOTTISH 1889 - 1970), YORKSHIRE LANDSCAPE oil on canvas boardframed image size 23cm x 30cm, overall size 38cm x 45cm Handwritten label versoProvenance: the family of the artist.Note: Hutchison attended The Edinburgh College of Art between 1909 and 1912. On leaving he started The Edinburgh Group, holding exhibitions for three consecutive years, with Eric Robertson, Alick Riddell Sturrock, John Guthrie Spence Smith, Dorothy Johnstone, Mary Newbery, and David Macbeth Sutherland who later became Principal at Gray's School of Art in Aberdeen. Hutchison also worked and studied in Paris for a while, mainly painting portraits though also producing landscape and figure paintings. In 1918 he married Marjery, youngest daughter of Edward Arthur Walton. Hutchison was Director of the Glasgow School of Art from 1933 to 1943, from all accounts being an excellent director. Though a great traditionalist he encouraged those who tended to the avant-garde. On leaving the Glasgow School of Art, Hutchison carried on with portraiture both in Edinburgh and London. A large exhibition of his work was held in London in 1964. Public collections include: The Hunterian, The National Portrait Gallery, Glasgow Museums, The National Galleries Of Scotland, UK Parliamentary Art Collection, The Fleming Collection, The BBC, National Trust Scotland, Glasgow School of Art, and the museums of Aberdeen, Edinburgh, Dundee, Kirkcaldy, Paisley & Fife.
Los 458
BRITISH SCHOOL (18TH CENTURY), JOHN MONTAGU, 2ND DUKE OF MONTAGU, KG, GMB, PC, FRS oil on canvasframedimage size 125cm x 105cm, overall size 160cm x 132cmProvenance: Scans of correspondence between the current vendor and Mungo Campbell on Scottish National Portrait Gallery stationery dated 8th November 1985 in which Mr Campbell asks on behalf of the SNPG "Would it be possible to order a photograph of your portrait of The Duke of Montagu(e)" are available on request and to the purchaser.Note: John Montagu, 2nd Duke of Montagu, KG, GMB, PC, FRS (1690 – 5 July 1749), styled Viscount Monthermer until 1705 and Marquess of Monthermer between 1705 and 1709, was a British peer. Montagu went on the grand tour with Pierre Sylvestre. On 17 March 1705, John was married to Lady Mary Churchill, daughter of John Churchill, 1st Duke of Marlborough, and Sarah Churchill, Duchess of Marlborough. On 23 October 1717, Montagu was admitted a Fellow of the Royal College of Physicians. He was made a Knight of the Garter in 1719, and was made Order of the Bath, a Fellow of the Royal Society in 1725, and a Grand Master of the Premier Grand Lodge of England which was the first Masonic Grand Lodge to be created. On 22 June 1722, George I appointed Montagu governor of the islands of Saint Lucia and Saint Vincent in the West Indies. He in turn appointed Nathaniel Uring, a merchant sea captain and adventurer, as deputy-governor. Uring went to the islands with a group of seven ships, and established settlement at Petit Carenage. Unable to get enough support from British warships, he and the new colonists were quickly run off by the French. In 1739, the country's first home for abandoned children, the Foundling Hospital was created in London. Montagu was a supporter of this effort and was one of the charity's founding governors. He also financed the education of two notable Black British figures of the age, Ignatius Sancho (a butler at his Blackheath home, Montagu House) and Francis Williams, allegedly sending the latter to Cambridge University (the university has no record of his having studied there). In 1745, Montagu raised a cavalry regiment known as Montagu's Carabineers, which, however, was disbanded after the Battle of Culloden. Montagu was a notorious practical joker, his mother-in-law writing of him that "All his talents lie in things only natural in boys of fifteen years old, and he is about two and fifty; to get people into his garden and wet them with squirts, and to invite people to his country houses and put things in beds to make them itch, and twenty such pretty fancies as these." Montagu is said to have once dunked the political philosopher Montesquieu in a tub of cold water as a joke. Montagu also commissioned William Hogarth to portray Chief Justice John Willes unflatteringly in a number of cartoons series Before and After (Hogarth) in which lusty amoral rakes seduce women. Montagu's country place, Boughton House, Northamptonshire, was laid out by him as a miniature Versailles, and now belonging to the Buccleuch family. After his death, his town residence, Montagu House, Bloomsbury, on the present site of the British Museum, received and for many years held the national collections, which under the name of the British Museum were first opened to the public in 1759.
Los 477
JAMES PATERSON PRSW RSA RWS (SCOTTISH 1854 - 1932), THE RIGHT HONOURABLE J PARKER SMITH PC, JP, DL, FRSE pastel, chalk and pencil on paper, signed and dated 1918, titled label versomounted, framed and under glass (original mount and frame)image size 46cm x 31cm, overall size 71cm x 53cm Handwritten artist's label verso.Note 1: After settling in Edinburgh, James Paterson drew several accomplished portrait sketches of high-profile contemporaries including a self-portrait drawing (1916) in pastel, chalk and pencil which is now in the collection of The National Galleries Of Scotland. The portrait offered here is an outstanding example of his characteristic style as a draughtsman. Paterson often used hatching in red and grey chalk to model the face and give it depth. James Paterson`s work was exhibited at The Kelvingrove Gallery as part of the major "Glasgow Boys" Exhibition (2010) and at The Hunterian Art Gallery (Glasgow) in "James Paterson : Works From The Artists Studio" (2010)-an exhibition dedicated entirely to his own work.The Sitter: James Parker Smith of Jordanhill, PC, JP, DL, FRSE (30 August 1854 – 30 April 1929) was a Scottish barrister and politician who served as Liberal Unionist MP for Partick. He was first elected at a by-election in 1890 but lost the seat in 1906. He was a Cambridge Apostle. He had previously contested Greenock and Paisley. He was born on 30 August 1854 the son of Archibald Smith of Jordanhill (son of James Smith of Jordanhill) and his wife, Susan Emma Parker. Although his father was Scottish he was born in London and spent much of his life in England. He was educated at Winchester College. He then studied law at Trinity College, Cambridge, graduating with a BA in Mathematics (as fourth Wrangler) in 1877 and an MA in 1880. He qualified as a barrister in 1888. From 1890 to 1906 his interests changed from law to politics. In January 1900, Smith was appointed assistant private secretary to Joseph Chamberlain, Secretary of State for the Colonies. He held this post until 1903. He was sworn of the Privy Council in 1904. In 1915 he returned to Winchester as a fellow and as warden of the college. He later became a director of the Union Bank of Scotland. In 1921 he was elected a fellow of the Royal Society of Edinburgh. His proposers were Frederick Orpen Bower, Ralph Allan Sampson, Sir Edmund Taylor Whittaker and Sir James A. Ewing. In 1882 he was married to Mary Louisa Hamilton. They were parents to Archibald Colin Hamilton Parker Smith, the 5th Laird of Jordanhill, and Wilmot Babington Parker Smith. His brothers included Arthur Hamilton Smith, Henry Babington Smith, Lt Commander Charles Stewart Smith and Rev Walter Edward Smith. He died at the Brooks's Club in London on 30 April 1929Note 2: In our auction of 11th August 2010, lot 13 "Portrait of a Lady" (dated 1916) a similar pastel, chalk and pencil portrait by James Paterson sold for £2600 (hammer).
Los 10
ATTRIBUTED TO MARY BEALE (BRITISH 1632-CIRCA 1697) PORTRAIT OF PETER BEAVIS OF CLYST HOUSE (1657–1708)oil on canvas77 x 64.5cm; 30 1/4 x 25 1/2in94.5 x 82cm; 37 1/4 x 32 1/4in (framed)Property from a LadyProvenanceSale, Sotheby's London, 9 November 1994, lot 26 (as Mary Beale)Purchased at the above sale by the uncle of the present owner, thence by descentLittle is known today about the sitter in the present work, Peter Beavis. However, since the sixteenth century the senior line of the Beavis family were of the manor of Clyst Satchville, Devon. A pair of portraits attributed to Mary Beale, traditionally regarded as likenesses of the sitter's parents Richard (1621–1702) and Margarett Beavis, née Davie (1627–c. 1717) appeared in Bonhams' Old Master Paintings sale in London on 8th December 2004, lot 2. The attribution of the pair, however, is not universally accepted. But because the style and dimensions of these portraits are so comparable to the present work, particularly in their inclusion of painted stone cartouches and the use of a similar colour palette, it is very probable that all three oils relate and are likely part of the same series.
Los 20
EDWARD COLEY BURNE-JONES (BRITISH 1833-1898) PORTRAIT OF A YOUNG WOMAN, THOUGHT TO BE ANNE MARIA JONES—RECTO; TWO CARICATURES OF WILLIAM MORRIS—VERSO inscribed POETA NON FIT verso coloured chalk and pencil on paper 50 x 35.5cm; 19 3/4 x 14in (sheet) 67 x 55cm; 26 1/4 x 21 3/4in (framed) Property from a London Collector Provenance Sir Edward Poynter RA (a gift from the artist. Poynter, 1836-1919, was an artist, served as the President of the Royal Academy from 1896-1918 and was the brother-in-law of Edward Coley Burne-Jones) Alfred Baldwin (a gift from the above. Baldwin, 1841-1908, was Poynter’s brother-in-law, a businessman and politician and the father of the future Prime Minister, Stanley Baldwin. Poynter, Burne-Jones and Baldwin all married daughters of George Browne Macdonald - Agnes, Georgina and Louisa respectively - to form part of a remarkable family circle; another Macdonald sister, Alice, married John Lockwood Kipling, father of Rudyard Kipling) Thence by descent to the present owner Anne Maria Jones (also known as Augusta or Gussie) was one of three sisters from Hull who made a living in London as artist’s models. Celebrated for her strong profile and wealth of golden hair, she posed for several important pictures by Burne-Jones in the 1860s, including the watercolour Astrologia of 1865 and the oil Princess Sabra in the Garden (Musée d’Orsay, Paris). Other artists for whom she sat included Albert Moore, James Abbott McNeill Whistler and members of the Pre-Raphaelite brotherhood. On the reverse of the present drawing are two humorous caricatures by Burne-Jones of his closest friend William Morris. One of the sketches is inscribed 'Poeta non Fit' (the poet is not yet done) and depicts the great designer and writer pompously leaning against a pedestal and orating to an unseen audience. The other sketch depicts him slumped in his chair and continuing to orate with little care about whether he is being listened to. Both Burne-Jones and Poynter were very fond of Morris but had also had to endure interminably long evenings in which he had insisted on reading to them at length from his epic poems and translations. Burne-Jones' wife Georgina admitted that she sometimes had to bite her fingers or stick pins in herself to ward off sleep when Morris was in a particularly verbal mood. The caricatures were clearly shared with Poynter to tease Morris. There are other examples in the British Museum which similarly poke fun at Morris and his speeches.
Los 38
JOHN PETER RUSSELL (AUSTRALIAN 1858-1930) LA SEINE A NEUILLYsigned, dated and titled JOHN RUSSELL 04. SEINE A NEUILLY lower right watercolour over pencil on paper22.5 x 30.5cm; 8 3/4 x 12in47 x 54.5cm; 18 1/2 x 21 1/2in (framed)ProvenanceSale, Aponem Auctions, Paris, Mobilier, Objets d'Art, Tableaux, Bijoux, Armes, 12 March 2011, lot 139Purchased from the above by the present ownerThe present lot is a view of the Pont de Neuilly that spans the Seine to the north-east of Paris and connects the neighbourhood of Neuilly to La Défense. Painted sparingly with ultramarine blues and delicate shades of violet, the artist combines topographical accuracy with an Impressionist palette to capture the shifting light as the day draws to a close.Born in Sydney, Russell emigrated to London in 1880 where he studied at the Slade School of Art before moving to Paris. In France he witnessed at first hand the development of Impressionism, befriending a number of leading artists of the day, including Auguste Rodin (1840-1917) and Claude Monet (1840-1926), and viewing exhibitions hosted by the Ecole des Beaux-Arts and at the gallery of Paul Durand-Ruel.Working in the studio of the Fernand Cormon, 1845-1924 (see lot 23), Russell befriended Vincent van Gogh, resulting in the artist's first ever portrait executed by Russell in 1886, now in the Van Gogh Museum, Amsterdam. The two artists remained close and corresponded right up until Van Gogh’s death in 1890. Although strikingly different personalities, they perhaps shared the same self-doubt in terms of artistic acumen: Russell was notoriously shy about exhibiting his work and his comfortable financial position exempted him from having to expose himself to criticism.Russell eventually returned to Sydney in 1920 where he died in relative obscurity. His cousin, Australian artist Thea Proctor, did much to posthumously promote Russell's art and by the late twentieth century, a number of biographies and exhibitions had helped restore his reputation as a significant artist. Today, Russell's works are held in major galleries in his Australia and across Europe, including the Musée d'Orsay and the Musée Rodin in Paris.
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Walpole (Horace) The Works, 5 vol., first collected edition, lacking half-titles, with engraved portrait, title vignettes and plates, some folding, some browning and offsetting, handsome contemporary calf faintly diced, gilt, spines gilt, a little rubbed, some joints cracked, G.G. & J.Robinson, 1798; Strawberry Hill Accounts: A Record of Expenditure in Building, Furnishing, &c...from 1747 to 1795, edited by Paget Toynbee, one of 500 copies, plates, R.W.Chapman's copy with his ink inscription in Greek, book-labels and loosely-inserted initialled prospectus, original half vellum, torn and frayed dust-jacket, Oxford, 1927 § Hazen (Allen T.) & Wilmarth Sheldon Lewis. A Catalogue of Horace Walpole's Library, 3 vol., original cloth, dust-jackets, London & New Haven, 1969; and 5 others on Walpole, 4to & 8vo (14)*** R.W.Chapman (1181-1960), scholar, bibliographer and book-collector, editor of the works of Samuel Johnson and Jane Austen.
Los 228
Ashmole (Elias) The Institution, Laws & Ceremonies of the most Noble Order of the Garter, second edition, without engraved portrait of Charles II (not always present), engraved illustrations and 31 plates (including 5 engraved on both sides, many double-page), many by Wenceslaus Hollar, with final errata f., lacking initial imprimatur f., one plate with closed marginal tear, some light damp-staining and spotting, some ff. with silked fore-edges and or tiny paper repairs, eighteenth century paneled calf, rebacked, [Wing A3984], folio, for Thomas Dring, 1693.***A reissue of the 1672 first edition, with the "Catalogue of Knights-Companions and Officers" continued to 1693.
Los 45
Homer. The Iliad, translated by Alexander Pope, 6 vol., engraved portrait, folding map and plates, some folding, contemporary calf, worn, covers detached, for Henry Lintot, 1756; Opera, 3 vol., foxing, contemporary calf, spines gilt, Leipzig, 1824 § Harwood (Rev. Thomas) Grecian Antiquities, some spotting, contemporary cloth, uncut, roan label, spine faded, 1801 § Hall (H.R.) The Oldest Civilization of Greece: Studies of the Mycenaean Age, plates & illustrations, ex-library copy with stamp to title, original cloth, gilt, spine faded, 1901, rubbed; and 9 others, 8vo & 4to (22)
Los 258
Byroniana.- Hippodrama.- Astley's. Miss Adah Isaacs Menken...throws a new light on Lord Byron's chef d'oeuvre Mazeppa, bifolium playbill, large wood-engraved illustration of Menken on a horse, small repair at foot of text f., a few marginal tears, tipped-in to card with a CdV portrait of Menken beneath, playbill 380 x 250mm., Nowell's, [c.1864]. *** Mazeppa with the American actress Menken was a huge success for the theatrical manager Edward Tyrrel Smith.
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Burton (Sir Richard Francis) Selected Papers on Anthropology, Travel & Exploration, edited by N.M.Penzer, first edition, original cloth, 1924 § Penzer (Norman M.) An Annotated Bibliography of Sir Richard Francis Burton, out-of-series copy from an edition limited to 500, bookplates of Frank J.Hogan & Francis Kettaneh, original cloth, t.e.g., others uncut, 1923; and 18 others on Burton including vol.1 only of Men of Mark containing a mounted photographic portrait and biography of Burton, and a Vanity Fair portrait, 8vo & 4to (20)*** The first is a compilation of the "rarer and more inaccessible of Burton's articles" which he contributed to periodicals.
Los 1
Voltaire (François Marie Arouet de) Oeuvres Completes, 100 vol., half-titles, engraved portrait with partial hand-colouring (trimmed), attractive contemporary half dark blue roan, spines gilt, boards slightly rubbed and marked, those of vol.1 worn and stained, Lyons, J.B.Delamolliere, 1791-92; another edition, 42 vol., engraved portrait, contemporary tree calf, gilt, spines gilt with green roan labels, a little rubbed, spines slightly faded, Paris, 1818-20 § Bengesco (Georges) Voltaire: Bibliographie de ses Oeuvres, 4 vol., out-of-series limited edition, portrait, some foxing, contemporary half morocco, t.e.g., others uncut, rubbed, Paris, 1882-90; and c.45 others, Voltaire, v.s. (c.190)
Los 6
Swedenborg (Emanuel) Diarii spiritualis, edited by J.F.I.Tafel, 4 vol., 26pp. lithographed facsimiles printed on both sides in vol.4, lacking portrait, foxed, book-label of Dimitrije Mitrinovic, attractive red morocco with all-over diaper pattern of gilt stars, spines gilt with compartments of small stars, g.e, a little rubbed, Tubingen, 1844-43-46-43 § Wright (Thomas, editor) Gesta Romanorum, 2 vol., original boards, uncut, upper covers detached, John Camden Hotten, [?1824] § Evelyn (John) Diary..., edited by William Bray & Henry B.Wheatley, 4 vol., 1906 § Thackeray (W.M.) The Letters and Private Papers..., edited by Gordon N.Ray, 4 vol., 1945 § Basile (Giambattista) The Pentamerone..., edited by N.M.Penzer, 2 vol., 1932 § Locke (John) The Correspondence, edited by E.S. de Beer, 8 vol., Oxford, 1976, some plates and illustrations, all but the first two original cloth, the last two with dust-jackets, some a little rubbed or with faded spines; and a quantity of others, literature, history etc., 8vo (5 boxes)
Los 207
Fry (Elizabeth).- Warin (Charles) Roman Cameo, ?from the collection of Elizabeth Fry with faded printed label to verso, lead portrait in wooden gilt frame, small hook to top edge, a little rubbed, [19th century]. *** A nineteenth century reproduction of a seventeenth century cameo, possibly from the collection of Elizabeth Fry, the prison reformer, social reformer and philanthropist, known as the "Angel of Prisons" for her work to improve the treatment of prisoners, especially that of female prisoner.
Los 278
Proud (Rev. Joseph) The Aged Minister's Last Legacy to the New Church, signified by the New Jerusalem in the Apocalypse, first edition, engraved portrait, a few spots, contemporary half calf, rebacked, red morocco label, corners repaired, Birmingham, 1818 § Bousell (John) The Ram;s Horn sounded Seven Times..., first edition, modern cloth, Norwich, Chase & Co., [1787] § Burrell (J.F.) Water Baptism, Circumcision, and the Lord's Supper..., first edition, old library stamp to head of title, modern cloth, uncut, 1816 § Ashworth (John) An Account of the Rise and Progress of the Unitarian Doctrine..., first edition, stain to title, modern marbled boards, Rochdale, for the author, 1817 § Nightingale (Joseph) A Portraiture of Methodism, first edition, 16pp. catalogue at end, water-staining to endpapers, original boards, uncut, ink inscription to upper board, rubbed, rebacked, 1807; and 5 others, Nonconformists, 8vo (10)
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Doughty (Charles M.) Wanderings in Arabia, 2 vol., second edition, photogravure portrait spotted, 1908; Travels in Arabia Deserta, with an Introduction by T.E.Lawrence, reprint, 1943 § Lawrence (T.E.) Seven Pillars of Wisdom, first trade edition, 1935 § Philby (H. St.J. B.) Sheba's Daughters, first edition, 1939, maps, plates and illustrations, original cloth, the second and third in similar style with dust-jackets, all slightly rubbed, the last faded; and c.45 others on the Middle East & Africa, mostly Lawrence and Arabia, and 5 large folding maps of the Middle East, v.s. (c.50)
Los 281
Murder.- The Trial of Archibald Bolam for the Murder of Joseph Millie in the Savings Bank, Newcastle on Thursday Dec 8th, 1838, woodcut portrait of Bolam and plan of the bank to the verso of the title, 2 small tears slightly affecting text, 7 contemporary manuscript notes in the margins (one in pencil), 4 margins partially cut away probably removing other notes, original wrappers, edges chipped, 8vo, Gateshead; William Douglas, Observer Office, Thomas Swan, Sunderland. 1839.
Los 27
Bible, Syriac. Novum Testamentum Syriace..., Syriac half-title with Latin title on verso, printed slip at end, presentation copy from the editor, light offsetting, ex-library copy with old ink stamps to title, original boards, worn, upper cover detached, [Darlow & Moule 8979], 1816; Vetus Testamentum Syriace, Syriac and Latin titles, errata leaf mounted on rear paste-down, some spotting, contemporary embossed calf, by Watkin with his ticket, worn, covers detached, [Darlow & Moule 8981], 1823 § Bible, Ethiopic. Novum Testamentum...Aethiopice, Latin and Ethiopic titles, printed in red & black, some foxing, contemporary embossed green calf, by Burn & Sons, rubbed, spine faded and worn at ends, [Darlow & Moule 3576], 1830 § Noris (Henry, Cardinal) Annus et epochae Syromacedonum, engraved portrait and additional title with map, title in red & black with woodcut device, folding engraved table, browned, Chatsworth copy with shelf-label, contemporary calf, rubbed, rebacked with gilt spine, upper cover detached, Leipzig, T.Fritsch, 1696 Simonides (Constantine) Fac-similes of certain portions of the Gospel of St.Matthew..., lithographed frontispiece, plates, original printed wrappers, broken & loose, 1862; and c.20 others, biblical texts and commentaries, linguistics etc., v.s. (c.25)*** The final item was published by Simonides, a notorious forger, who claimed to have discovered the papyri in a private collection.
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Munby (A.N.L.) Phillipps Studies, 5 vol., prospectus loosely inserted, original cloth, all but vol.4 with dust-jackets, spines browned, Cambridge, 1951-60 § Hobson (Anthony) Apollo and Pegasus: An Enquiry into the Formation and Dispersal of a Renaissance Library, original cloth, dust-jackets, slightly yellowed, Amsterdam, 1975 § Keynes (Geoffrey) Bibliotheca Bibliographici: A Catalogue of the Library..., one of 500 copies, original cloth, Trianon Press, 1964 § [Clarke (William)] Repertorium Bibliographicum; or, some Account of the Most Celebrated British Libraries, vol.I [all published], engraved frontispiece and plates (browned), modern half calf, 1819 § Dibdin (Rev. T.F.) A Bibliographical Antiquarian and Picturesque Tour in France and Germany, 3 vol., second edition, half-titles, engraved portrait frontispieces (offset onto titles), foxing, original cloth, rubbed, spines faded, 1829; and c.30 others, bibliography, 8vo & 4to (c.40)
Los 259
'Fearless Frogman'.- Clapham & Brixton Baths. Capt. Boyton will appear, and exhibit his Life Saving Apparatus in which he is to cross the Channel the previous day, handbill, a few very small marginal chips, mounted on card along with 3 others relating to Boyton, including a CdV portrait, handbill 190 x 126mm., Phillips Bros., 1st June, 1875. *** Boyton, known as the Fearless Frogman, was a showman and adventurer best known for his water stunts, including crossing the English Channel in a rubber suit that functioned similarly to a kayak. He was a rival to Capt. Matthew Webb, who was the first person to swim the Channel without any artificial aids.
Los 302
Trees.- Evelyn (John) Silva: or, a Discourse of Forest-Trees and the Propagation of Timber in His Majesty's Dominions, edited by Dr.Alexander Hunter, first Hunter edition, engraved portrait by Bartolozzi and 40 plates, one folding, folding letterpress table, list of subscribers, with blank *c1, some light foxing and offsetting, later half calf, very slightly rubbed, [Henrey 137; Keynes 47; Nissen BBI 615], 4to, York, by A. Ward for J. Dodsley [&c.], 1776.*** Influential work on forest trees, first published in 1664 but greatly expanded by Alexander Hunter.
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Polo (Marco) The Book of Ser Marco Polo, the Venetian..., translated by Col. Henry Yule, 2 vol., second, revised, edition, lithographed portrait and additional pictorial titles, maps, plates and illustrations, some folding, original cloth, gilt, a little rubbed, 1875 § Watanabe (Hiroshi) Marco Polo Bibliography 1477-1983, original wrappers, Tokyo, 1986 § Field (Henry) Bibliography on Southwestern Asia, 7 vol., original wrappers, a little browned, Coral Fables, Fla., 1953-62; and a quantity of others, travel, mostly Asia including several more bibliographical publications by Henry Field, parts of vol.3-17 of Transactions and Proceedings of The Japan Society 1896-1920, and a few bound volumes of Journal Asiatique, 8vo & 4to (c.95)
Los 101
India.- Cundall (Frank, editor) Reminiscences of the Colonial and Indian Exhibition, etched portrait frontispiece, 3 chromolithographed plates, 6 etched plates, damp-staining to fore-margin, bookplate and ink ownership inscription of C Stanley Clarke, Indian Section, Victoria and Albert Museum, pamphlet titled "Opinion and Criticisms Selected from the Leading Journals in Great Britain and France on Tower Tea and the Indian Pavilion" loosely inserted, original cloth, spine darkened, wear to spine ends and corners, rubbing and damp-staining to cover, 4to, 1886.
![Beckford (William).- [Redding (Cyrus)] Memoirs of William Beckford of Fonthill..., 2 vol., first edition, mounted lithographe](https://cdn.globalauctionplatform.com/03c61e10-fdc6-4836-b646-b23b0115e276/50373efe-693c-4945-90e2-b23b0117f379/468x382.jpg)
Los 15
Beckford (William).- [Redding (Cyrus)] Memoirs of William Beckford of Fonthill..., 2 vol., first edition, mounted lithographed portrait frontispiece (foxed), 4pp. advertisements at end, original red cloth, spines faded, 1859 § Beckford (William) Vathek: Conte Arabe..., printer's library copy from an edition limited to 99 on hand-made paper, original vellum-backed patterned-paper boards, t.e.g., others uncut, Paris, [printed at the Oxford University Press for] Les Exemplaires, 1928; another edition, edited by Guy Chapman, 2 vol., limited edition, original cloth, t.e.g., others uncut, spines slightly faded, Cambridge, 1929 § Melville (Lewis) The Life and Letters of William Beckford, embossed "presentation copy" stamp to head of title, light foxing, Maj. J.R.Abbey's copy with his bookplate, later half morocco, gilt, t.e.g., others uncut, spine faded, 1910 § Chapman (Guy) Beckford, Rose Macaulay's copy with her signature, 1940 § Sitwell (Sacheverell) Beckford and Beckfordism, one of 265 copies signed by the author, 1930 § Menen (Aubrey) Fonthill, a Comedy, first edition, John Schlesinger's copy with his embossed stamp, 1975 § Oliver (J.W.) The Life of William Beckford, signed presentation copy to Roger Senhouse from Michael Shaw Stewart, 1932 § Alexander (Boyd, editor) The Journal of William Beckford in Portugal and Spain 1787-1788 [with] Life at Fonthill 1807-1822... [&] England's Wealthiest Son, together 3 vol., 1954-62 § Gemmett (R.J., editor) Sale Catalogues of Eminent Persons, vol.3 Poets and Men of Letters: William Beckford, 1972; The Consumate Collector: William Beckford's Letters to his Bookseller, 2000 § Ostergard (D.E., editor) William Beckford, 1760-1844: An Eye for the Magnificent, New Haven & London, 2001, some plates or illustrations, most original cloth, the last six with dust-jackets, most a little rubbed, the eighth frayed; and 22 others by or relating to Beckford & Fonthill, a few duplicates, and 3 framed hand-coloured lithographs of Fonthill Abbey from between the years 1821 and 1825, the latter showing the collapsed tower, v.s., 8vo & 4to (41)
Los 206
Rossetti (Dante).- Haydon (Samuel James Bouverie, 1815-1891) Portrait of Dante Gabriel Rossetti, etching on wove paper, platemark 132 x 150 mm (5 1/4 x 5 7/8 in), sheet 165 x 195 mm (6 1/2 x 7 3/4 in), laid onto card, mount affixed on top, even toning, with manuscript letter affixed to original backboard from Haydon's son, Flaxman Haydon, gifting the etching from his father's personal collection, unframed with backboard, 1882Provenance:Samuel James Bouverie Haydon (1815-1891)Flaxman Haydon; gifted to Mr Francis, 1891Anonymous sale.*** The Morgan Library hold a collection of manuscript letters written by Dante Gabriel Rossetti, including letters written to Haydon, outlining the close friendship between the two men and their apparent exchange of gifts.
Los 3
Home (Henry, Lord Kames) Sketches of the History of Man, 4 vol., mixed edition, half-titles, first few leaves of vol.1 mounted on stubs, bookplate of C.Coote, near contemporary half calf, spines gilt, slight worming to upper joint of vol.4, Dublin, for James Williams, vol.1 & 2 1775 & vol.3 & 4 1774 § Wraxall (Sir Nathaniel William) Posthumous Memoirs of His Own Time, 3 vol., first edition, half-titles, engraved portrait frontispieces, contemporary half calf, spines gilt and faded, 1836 § [Haliburton (Thomas Chandler)] The Bubbles of Canada, first edition, half-title, lightly browned, bookplate of Sir Maurice Fitzgerald Bt. of Buckland, contemporary half calf, 1839, all a little rubbed; and 3 others, 8vo et infra (11)
Los 267
Roisecco (Gregorio) Roma Antica, e Moderna..., vol.1 only (of 3), engraved frontispiece, folding plan and 18 folding plates, numerous engraved or woodcut illustrations, light browning, large plate of forum torn, contemporary vellum, rubbed, spine a little worn at foot, Rome, N.Roisecco, 1765 § Plutarch. Lives, translated by John & William Langhorne, 6 vol., engraved portrait, contemporary half calf, 1819 § Thirlwall (Connop) The History of Greece, 8 vol., folding maps, contemporary half morocco, 1845-52 § James (William) The Naval History of Great Britain, 6 vol., engraved portraits, folding tables, contemporary calf, spines gilt, 1847 § Carlyle (Thomas) History of Friedrich II. of Prussia called Frederick the Great, 6 vol., plates & maps, contemporary calf, gilt, 1886-87 § Partington (C.F., editor) The British Cyclopaedia..., 10 vol. (Arts & Sciences, Biography, Geography, Natural History), engraved plates, illustrations, contemporary half calf, 1835-38 § Clark (Sir George, editor) [The Oxford History of England], 16 vol. in 15, 1399-1485 & 1914-1945 vol. first editions, the rest second editions or reprints, original cloth, spines faded, Oxford, 1961-65 § Raubstaat England, 501-700 thousand, tipped-in illustrations, original wrappers, creased & frayed at edges, Hamburg-Bahrenfeld, [?1941], some with modern ink inscription of the historian Dr. Rohan Butler, some foxing, rubbed; and a small quantity of others, mostly OUP World's Classics, 8vo et infra (Qty)*** The last is a German World War II cigarette card album of anti-British propaganda portraying the British as a predatory state, inscribed to the historian Rohan Butler on title.
Los 7
A Second World War Casualty Trio, comprising 1939-45 Star, Atlantic Star and War Medal, with posthumous medal award slip to Harry Brunton, in cardboard postal box addressed to his mother Mrs E Brunton, with copy of Commonwealth War Graves Commission entry stating that Steward Harry Brunton of S.S. San Florentino (London) Merchant Navy, died 2nd October 1941 aged 20, after his ship was hit by a U-boat torpedo, he is remembered with honour at the Tower Hill Memorial; Items Relating to Captain George C. Blundell C.B.E., Royal Navy, including three Royal Naval Association, Royal Leamington Spa medallions dated 1972-3, 1974-5, and 1976-7 in a fitted case, his pair of rank epaulettes, medal ribbon bars, uniform buttons and two portrait photographs; a Good Copy of an Air Force Cross, in a Royal Mint fitted case (qty)
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A Second World War Italian Campaign Group of Six Medals, awarded to 7596597 W.O.CL.1. H.STEVENS, R.E.M.E., comprising 1939-45 Star, Africa Star with clasp 8TH ARMY, Italy Star, Defence Medal, War Medal with MID oak leaf, and Efficiency Medal with TERRITORIAL suspender, swing mounted as worn, together with his medal ribbon bar (London Gazette 19th July 1945 - Mentioned in recognition of gallant and distinguished service in Italy); a Second World War Group of Three Medals, comprising 1939-45 Star, Italy Star and War Medal, with postal box of issue to Mr J S Cousins, Wickham, Hants., two portrait photographs, postcards, booklets and ephemera, and a hand worked wool embroidered cushion cover to the Hampshire Regiment and the Italian Campaign (qty)
Los 501
A 19th century Sevres Chateau of Versailles cabinet plate, the centre painted with a portrait of Louis XVII, signed 'Delacroix', surrounded by a rich dark blue border and painted in gilt with a crown, C-scrolls and grapevines, printed marks to the base, 25.5cm diameter, A/FIf there is no condition report shown, please request
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