"TWAIN, Mark" (1835-1910). Adventures of Huckleberry Finn, New York, 1885, 8vo, frontispiece, heliotype portrait, illustrations by E. W. Kemble, original green cloth. FIRST AMERICAN EDITION, FIRST ISSUE, of "one of the great works of American fiction.""TWAIN, Mark" [i.e. Samuel Langhorn CLEMENS (1835-1910)]. Adventures of Huckleberry Finn (Tom Sawyer's Comrade). Scene: The Mississippi Valley. Time: Forty to Fifty Years Ago. New York: Charles L. Webster and Company, 1885. Large square 8vo (214 x 170mm). Half title, wood-engraved frontispiece by Edward Winsor Kemble dated 1894, heliotype plate of a bust of the author sculpted by Karl Gerhardt, 173 wood-engraved illustrations by Kemble (light stain at lower margin of frontispiece, portrait lacks tissue guard, some light staining and browning, a few darker spots). Original green publisher's pictorial cloth gilt (extremities rubbed, some light scuffing and scratching to covers, nick at lower edge of upper cover, small faint stain to lower cover). Provenance: from the Collection of David Kotthoff. FIRST AMERICAN EDITION, FIRST ISSUE, of "[Twain's] masterpiece and one of the great works of American fiction." Please note the following issue points in the present copy: the portrait has the imprint "Heliotype Printing Co." and has the tablecloth clearly visible beneath the bust of the author; the title is a cancel with the copyright date on the verso given as 1884; p.[9] has "Huck decided to Leave" under the heading for Chapter VI (in later issues it was changed to "decides"); p.[13] has the illustration "Him and another Man" wrongly listed as being at p.88 (in later issues it was corrected to p.87); p.57, in the 23rd line, has the reading "... with the was ..." (in later issues it was corrected to "... with the saw ..."); p.155 has the last "5" missing from the pagination; p.283 is a cancel of the defaced engraving and has the corrected version. The publishers issued three different bindings simultaneously (leather, green cloth and red cloth) and none are assigned precedence. "[Huckleberry Finn is] generally accepted as [Twain's] masterpiece and one of the great works of American fiction ... Perennially popular as an adventure story, the novel is also a profound moral commentary on the nature of the 'American experience' and the institution of slavery, and a vital contribution to the myth of the frontier, told with a freshness and raciness that shocked some if its readers, and has given rise to many theses on the subject of 'Southern Humour'. Twain's use of the innocent narrator to present oblique moral judgement is masterly, and his use of the vernacular extremely sensitive" (The Oxford Companion to English Literature, ed. Drabble, 1985). "All modern American literature comes from one book by Mark Twain called Huckleberry Finn. It's the best book we've had. All American writing comes from that. There was nothing before. There has been nothing as good since" (Ernest Hemingway, Green Hills of Africa, 1935). Please note that the green of the binding is much brighter than it appears in our catalogue illustrations. BAL 3415; Grolier 100 American Books 87; Johnson pp.43-50; MacDonnell 31; McBride 93.
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CHINA - Athanasius KIRCHER (1602-80). La Chine, Amsterdam, 1670, folio, additional engraved title, 2 maps, 22 plates, 61 illustrations (lacking the portrait, some spotting and staining), contemporary vellum. FIRST FRENCH EDITION.CHINA - Athanasius KIRCHER (1602-80). La Chine ... Illustrée De plusieurs Monuments Tant Sacrés que Profanes, et de quantité de Recherchés de la Nature & de l' Art. A Quoy on à adjousté de nouveau les questions curieuses que le Serenissime Grand Duc de Toscane a fait depuis peu au P. Jean Grubere touchant ce grand Empire. Avec un Dictionaire Chinois & Franois, lequel est tres-rare, & qui n' a pas encores paru as jour. Traduit par F. S. Dalquié. Amsterdam: "Ches Jean Jansson a Waesberge, & les Heritiers d' Elizee Weyerstraet," 1670. Folio (366 x 245mm). Additional engraved allegorical title dated 1667, woodcut device on printed title, 2 double-page engraved maps, 22 engraved plates including 8 with engraved letterpress, one double-page, one folding, and 61 engraved illustrations, the text printed in double column, initials and ornaments (lacking the portrait of the author, some fraying to the engraved title without loss, some marginal staining to the printed title with closed repaired tear at foot and some minor fraying without loss, [?]printing flaw affecting the margin of one plate, one plate with piece of margin torn away, variable mainly marginal spotting and staining). Contemporary full vellum, the spine lettered and ruled in gilt, red edges (light stain to head of spine). Provenance: The Honourable Hugh Howard (armorial bookplate). THE FIRST EDITION IN FRENCH of this "important source of information on the beginnings of western sinology and sinophilism in Europe" (Szczesniak). First published in Latin in 1667, Kircher's hugely influential and ground-breaking work contains some of the earliest accounts of the geography, botany, zoology, religion, mythology and language of China. It was also the first western work to include a vocabulary of Chinese and the first to include reproductions of the Sanskrit alphabet and grammar. Brunet II, 771; Cordier Sinica I, 26-27; De Backer & Sommervogel IV, 1064; Lust 38; Morrison II, 38. See Baleslaw Szczesniak's Athanasius Kircher's China Illustrata (History of Science Society, 1952, 10: 385-411).
BUKOWSKI, Charles (1920-94). You Get So Alone At Times That It Just Makes Sense, Santa Rosa, Black Sparrow Press, 1986, 8vo, boards. FIRST EDITION. NUMBER 66 OF 126 COPIES SIGNED WITH A SELF-PORTRAIT BY THE AUTHOR AND AN ORIGINAL COLOURED PRINT, SIGNED.BUKOWSKI, Charles (1920-94). You Get So Alone At Times That It Just Makes Sense. Santa Rosa: Black Sparrow Press, 1986. Large 8vo (228 x 155mm). Title printed in colours, monochrome photographed portrait of the author by Michael Montfort at the end. Original cloth-backed coloured decorated paper boards by Earle Grey, dark blue endpapers, original acetate wrapper (some very light spotting and staining to boards, edges spotted). Provenance: from the Collection of David Kotthoff. FIRST EDITION. NUMBER 66 OF 126 COPIES SIGNED AND WITH A SMALL SELF-PORTRAIT BY THE AUTHOR AND AN ORIGINAL COLOURED PRINT SIGNED "BUK". Krumhansl 100e.
KNIGHT, Laura (1877-1970, artist). Laura Knight, London, 1923, 4to, frontispiece and 20 plates by Laura Knight, including 3 coloured, original paper boards (rather worn). FIRST EDITION, NUMBER 17 OF 500 COPIES SIGNED BY THE ARTIST.KNIGHT, Laura (1877-1970, artist). Laura Knight. A Book of Drawings with a Foreword by Charles Marriott and Descriptive Notes. London: John Lane, The Bodley Head Limited, 1923. 4to (315 x 255mm). Half title, frontispiece portrait and 20 plates by Laura Knight, including 3 coloured, one-page of publisher's advertisements at the end. Original hessian-backed paper boards, printed label on spine (corners worn, quite heavily rubbed and stained, spine label torn with loss, inner hinges weak). Provenance: "October 27th 1942" (date written in pencil on the front free endpaper). FIRST EDITION. NUMBER 17 OF 500 COPIES SIGNED BY THE ARTIST.
KING, Stephen (b.1947). Christine, London, 1983, large 8vo, original black cloth, dust-jacket. A FINE COPY OF THE FIRST U.K. EDITION, PRESENTATION COPY, inscribed on the front free endpaper, "To Dave - Be well, Stephen King, 5/14/83."KING, Stephen (b.1947). Christine. London: Hodder and Stoughton, 1983. Large 8vo (232 x 145mm). Half title. Original black cloth, the spine lettered in gilt, the dust-jacket designed by Ian Hughes with a coloured illustration by Gerald Grace on the front cover and a monochrome photographed portrait of the author on the rear wrapper with the price of £8.95 unclipped. A FINE COPY OF THE FIRST U.K. EDITION, PRESENTATION COPY, inscribed on the front free endpaper, "To Dave - be well, Stephen King, 5/14/83." "Stephen King needs little introduction, for he is today's leading horror book writer. His previous bestselling novels include Carrie, 'Salem's Lot, The Shining, Fire Starter and The Stand, and many have been made into highly successful films" (from the rear turn-in). The recipient of this presentation copy was David Baldock who worked for the "Forbidden Planet" bookshop in London for many years and was well-known to the writers who launched their books there throughout the 1970s and into the early 1990s. Loosely-inserted is a promotional flyer for the Christine signing event dated Saturday 14 May [1983], the same date of the author's inscription.
LINSCHOTEN, Jan Huygen van (1563-1611). Histoire de la Navigation ... Aux Indes Orientales, Amsterdam, 1638, 3 parts in one volume, folio, 3 engraved titles, portrait, 6 maps, 33 plates (?only of 36), contemporary calf (re-backed). Third French edition.LINSCHOTEN, Jan Huygen van (1563-1611). Histoire de la Navigation de Jean Hugues de Linschot Hollandois: Aux Indes Orientales. Contenant diverses Descriptions des lieux iusques à present descouverts par les Portugais: Observations des Coustumes & singulaitez de del, & autres declarations. Avec annotations de B. Paludanus, Docteur en Medecine sur la matiere des Plantes & Especeries: Item quelques Cartes Geographiques, & autres Figures. Troixiesme edition, augmentee. Amsterdam: "Chez Evert Cloppenburgh, Marchand libraire, demeurant sur le Water a la Bible Doree," 1638. 3 parts in one volume, folio (297 x 192mm). Elaborate engraved allegorical title incorporating two baroque cartouches, with 2 further engraved part-titles, namely, "Le Grand Routier de Mer" and "Description de l' Amerique & des parties d' icelle, comme de la Nouvelle France, Floride, des Antilles, Iucaya, Cuba, Jamaica, &c.", engraved three-quarter length portrait of the author within baroque cartouche on the verso of the "index" leaf, large folding twin-hemisphere map of the world by Petrus Plancius ("Orbis Terrarum Typus de Integro Multis in Locis Emendatus") dated 1595 [Shirley 187] and 5 other folding maps, 33 engraved plates (?only, of 36), of which 30 double-page and three folding (small stain on the first engraved title, two maps torn and repaired with slight loss, some plates and maps mounted on later hinges, some leaves lightly stained or browned with some minor mainly marginal worming, some darker spots, final text leaf of last part torn and neatly repaired affecting a few letters). Contemporary speckled calf gilt (re-backed in old-style with 5 raised bands and preserving the original red morocco lettering-piece, some rubbing and repairs at edges of boards, inner hinges inconspicuously reinforced). Provenance: Earl of Roden (armorial bookplate and old label); "Biblioteca de Agustin Edwards" (library label); "3 plates are missing but it possesses two which are not listed" (later pencil inscription on the front free endpaper, seemingly erroneous). THE THIRD FRENCH EDITION of this highly influential work - the most comprehensive illustrated travelogue of its time - containing all the knowledge and learning relating to the East and West Indies at the beginning of the 17th-century, in addition to describing, in the second part of this edition, the navigation of the coasts of West Africa around the Cape of Good Hope to Arabia, and, in the third, the coasts of Florida, the Caribbean and Brazil. Through its various editions, the book served as a direct stimulus to the building of the English and Dutch trading empires, and it was so highly esteemed as a functional navigational aid that a copy was given to each ship sailing for the Indies, a fact that accounts for the generally poor condition of many copies, unlike the present one, which is remarkably well preserved. The work has a complicated publishing history. It was first published in a Dutch edition in 1595, followed by Latin and English translations in 1598. The first French edition appeared in 1610, but with plates which were reduced versions based on those of De Bry. The second French edition, of 1619, and the present third one of 1638 - with commentaries by the physician and collector Bernard Paludanus (1550-1663) - returned to the original folio-sized plates of the Dutch edition, and, for this reason, are considered the most desirable. These last two French editions also include, for the first time, the two additional parts described above. The present copy comprises a total of three engraved titles, an engraved portrait, six folding maps and 33 double-page or folding plates. All of the plates are in the first part. Three of the six folding maps are in the first part and three in the second part. The third part contains no plates or maps, only its engraved title. The list of plates calls for a total of 36, suggesting that the present copy is lacking three. However, plate and map counts vary in other copies, and collating the work against its own list of plates has its own pitfalls since the plates are unnumbered and are rarely placed at the page numbers indicated. In addition, the titles of the plates in the list usually bear little relation to the captions on the plates themselves, or are open to interpretation: this is not helped by the fact that the titles in the index are in French, whereas the captions beneath the plates themselves are in Latin and Dutch. It seems quite possible that some of the plates are counted as two or more, since they have two or more subjects. On the list of plates, plate numerals 18 - 22 are omitted, although their plate titles remain, unnumbered, in sequence [see illustration]: it is unclear what this signifies, if anything, but it could suggest that the subjects are compressed onto fewer separate sheets, which would then reduce the overall apparent plate count when counting the sheets alone rather than relying on the numbering. The list also calls for only five maps, and not six, as are included here. Please see further illustrations of the lot provided in the link below. Alden 638.67; Borba I, 490; Brunet III, 139: "Cette traduction [française] [included in the 1610, 1619 and 1638 editions] est plus recherchée que l' édition latine"; Palau 138584; Penrose Travel and Discovery in the Renaissance 1420-1620 p.311; Sabin 41373; Tiele 686-88.For more images of this lot please click here
BINDING - Liturgia, London, 1670, 8vo, engraved portrait of Charles II and 47 engraved illustrations, rubricated throughout, attractively bound in contemporary black calf elaborately decorated in gilt and blind, gauffered edges.BINDING - Liturgia, seu liber precum communium, et administrationis sacramentorium, alirumque rituum atque ceremoniarum ecclesiæ, juxta usum ecclesiæ Anglicanæ: unà cum psalterio seu psalmis Davidis. London: "Excudit Rogerus Nortonus," 1670. 8vo (175 x 110mm). Engraved portrait of Charles II, tables, 47 engraved illustrations, rubricated throughout (some light mainly marginal spotting and staining, a few short tears without loss, some signatures or leaves loose or detached). Attractively bound in contemporary black panelled calf gilt, the central panel on each cover elaborately tooled in blind, gilt and blind foliate cornerpieces, gauffered edges, marbled endpapers. Provenance: From the Collection of Ludwig Messel, Nymans, West Sussex; "Bettesworth Sale ... 29 Jan, [18]88" (pencil inscription on rear endpaper); loosely-inserted is a one-page typed-letter referring to the book, on paper headed "Express and Star ... Wolverhampton", dated 22nd June, 1960, stating, "Dear Miss Dengate, We are now returning the Latin Prayer Book which Col. Linley Messel so kindly loaned to our Charles II Exhibition. Please convey to Col. Messel our sincere thanks for his co-operation. We are pleased to tell you that the Exhibition was a success and over 6,000 people visited Moseley Old Hall during the fortnight. Yours sincerely, J. Corbett."
Attributed to Daniel Queborn (undefined, Antwerp 1522-1618 The Hague)Portrait of Captain Isaac Honywood, three-quarter-length, in armour standing before a table-top bears inscription 'Captain Isaac Honywood, the Sixteenth child of/ Robert and Mary Atwaters, was slain with his/ Lieutenant, Ensign, and almost all his Company,/ at the battle of Newport 20th of June 1600/ aged 30' (upper right)oil on canvas115.8 x 93.4cm (45 9/16 x 36 3/4in).Footnotes:ProvenanceHonywood Family, Marks Hall, EssexTheir sale, Humbert, Son & Flint, Marks Hall, 8-11 December 1897, lot 159, where purchased byFlorence E. Northey (d.1928), daughter of Sir John E. Honywood, 6th Bt, Evington, Kent and thence by descent through the familyThe sitter was born in 1570 to Robert Honywood of Henewood, Postling, Kent, and Mary Atwaters. He died at the age of 29 after the Battle of Nieuwpoort, where he served under Francis Vere (1560/1-1609) and Horatio Vere. A bust-length portrait by Queborn of the sitter at a similar age hangs at Raynham Hall, Norfolk (inv. no. RN23), along with a portrait of his kinsman, Charles Scott (inv. no. RN36), who fought alongside him.For further information on this lot please visit Bonhams.com
Edward Collier (Breda circa 1640-1708 London)A vanitas still life with a skull atop a jewelled crown, an astrological globe, an hourglass, a book, a shell with soap bubbles and an engraved portrait of the Emperor Augustus on a draped table inscribed 'HOMO EST / SIMILIS / BULLÆ.' (lower left, on the slip of paper) and 'SIC FUGITT. / IRRE.PARABILE / TEMUS.' (upper right, on the paper scroll)oil on canvas75.2 x 63.2cm (29 5/8 x 24 7/8in).Footnotes:ProvenanceSale, Sotheby's, New York, 12 July 1978, lot 69Sale, Christie's, London, 24 April 1998, lot 62, when acquired by Private Collection, UK, by whom offeredSale, Christie's, London, 8 December 2023, lot 128, where purchased by the present ownerThe present work dates to Collier's early years in Haarlem, before he left for Leiden in 1667, and the influence of artists such as Jan Vermeulen and Jan Janz. van der Velde II is evident. Collier uses carefully arranged objects to remind the viewer of the transience of life: the hourglass, skull and bubbles remind us of the inevitability of death. However, the ivy and globe signify eternal life and the resurrection. The inscriptions which appear in Latin in the present painting underscore that meaning and stress the transitional nature of life: HOMO EST/SIMILIS/ BULLAE (man is a bubble) and SIC FUGITT./IRRE.PARABILE/TEMUS' (it escapes, irretrievable time).A similar composition, signed and dated 1663, was with Johnny van Haeften, London, March 1983 and is now in the Heinz Collection, Washington.Dr. Fred Meijer confirmed the attribution to Collier at the time of the 1998 sale.For further information on this lot please visit Bonhams.com
Circle of Cornelis Jonson van Ceulen (London 1593-1661 Utrecht)Portrait of a gentleman, said to be Sir Henry Wotton, half-length, in a black doublet, and white ruff and cuffs, within a painted oval oil on panel77.1 x 60.4cm (30 3/8 x 23 3/4in).Footnotes:ProvenanceNicholas Kempe (1716-1774) and thence by descent to his granddaughterAnne Eliza Bray, and thence by descent until offeredSale, Christie's, London, 12 July 1990, lot 25 (as Cornelis Jonson van Ceulen), where purchased by the present owner's fatherSir Henry Wotton (1568-1639), son of Thomas Wotton (1489-1551) and his second wife Elionora Finch of Bocton Hall, was secretary to Robert Devereux, 2nd Earl of Essex. He served as ambassador to Venice intermittently from 1604 to 1623, as well as to Savoy and The Hague; sat in the Houses of Commons in 1614 and 1625; and was appointed Provost of Eton in 1624 where he remained until he died. He continued to write poems and essays, and contributed fifteen poems to the Reliquiae Wottonianae, which was published posthumously in 1685.There is a portrait of the sitter by an unknown artist at Eton College and a three-quarter-length portrait of Wotton by Michiel van Mierevelt was with the Weiss Gallery, London.For further information on this lot please visit Bonhams.com
Leonardo Guzzardi (active Italy, 1798-1800)Portrait of Admiral Lord Nelson, full-length, wearing naval full dress uniform with the sash of the Order of the Bath, on deck with a naval engagement behind signed and dated 'LEONARDVS GVZZARDI.PIN.1799' (lower left)oil on canvas84.6 x 50.4cm (33 5/16 x 19 13/16in).Footnotes:ProvenanceSale, Christie's, London, 2 April 1971, lot 69 (as The Property of a Nobleman), where purchased by the present owner's familyThe present portrait was painted by Guzzardi during Nelson's stay in Palermo between January 1799 and June 1800, which followed the dramatic escape of King Ferdinand and Queen Maria Carolina of the Two Sicilies in December, 1798, when they left their home in Naples ahead of the impending French invasion, escorted by Nelson. Guzzardi, about whom very little is known, was probably an artist attached to the Neapolitan Court. He is today renowned for not having shirked from showing the scar on Nelson's forehead and his missing eyebrow (injuries sustained at the decisive Battle of the Nile). Most artists who painted the naval hero chose to paint more flattering portraits, glossing over these wounds; while a number of institutions that owned those paintings that did show his wounds often had his scars painted over or lightened his facial disfigurement.Nelson is depicted here wearing the Chelengk in his bicorn, displaying his Naval gold medals, the Ottoman Order of the Crescent and the Order of the Bath. The Chelengk was a plume of more than 300 diamonds with a unique rotating central feature surrounded by exquisite enamelled flowers. Like the Order of the Crescent, it was presented to Nelson by Sultan Selim III, along with the cloak that is seen here draped over the chair beside him, in recognition of his daring 1798 defeat of the French fleet in the Battle of the Nile, when Egypt was still under the control of the Ottoman Empire.A large full-length version of this portrait, which is probably the original, hangs in the Admiralty Boardroom but formerly belonged to Sir William Hamilton. Several other portraits of Nelson by Guzzardi are known, including: two in the National Maritime Museum, Greenwich (inv. nos. BHC2895 and BHC2896); one of a very similar size was offered at Phillips, London, 8 June 1996, lot 27; a bust-length portrait in the Government Art Collection; and a mezzotint by John Young from 1800 speaks to the popularity of the image.For further information on this lot please visit Bonhams.com
Sir Thomas Lawrence P.R.A. (Bristol 1769-1830 London)Portrait of George Griffin Stonestreet, three-quarter-length, seated, in a brown coat and white cravat, a red brocade curtain behind oil on canvas128.6 x 102.9cm (50 5/8 x 40 1/2in).Footnotes:ProvenanceCommissioned by The Phoenix Assurance Company, LondonSale, Christie's, London, 8 June 2006, lot 47, where purchased by the present ownerLiteratureLord R. Sutherland Gower, Sir Thomas Lawrence, London, 1900, p.161Sir W. Armstrong, Lawrence, London, 1913, p.165K.J. Garlick, Sir Thomas Lawrence, London, 1954, p.59K.J. Garlick, A Catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence, London, 1964, p.181M. Levey, Sir Thomas Lawrence 1769-1830, exh. cat., London, 1979, p. 41, cat. no. 16, ill.K.B. Croker, Things Phoenix, 1782-1982, London, 1982, p.18C. Trebilcock, Phoenix Assurance, 1782-1870, Cambridge, 1985, p.364K.J. Garlick, Sir Thomas Lawrence, London, 1989, p. 269, cat. no. 744, illExhibitedLondon, Royal Academy, 1802, no.421London, Royal Academy, The Royal Academy: First Hundred Years, 18 December 1951 - 9 March 1952, no.199London, National Portrait Gallery, Sir Thomas Lawrence, 1979, no.16The sitter was born George Griffin in circa 1744/5, and adopted his mother's maiden name of Stonestreet in 1794. He was the first secretary and director of the Phoenix Fire Office and Pelican Life Insurance. Minutes from the Phoenix Directors' Board meeting on 18 December 1799 expressed gratitude to Stonestreet for his services, recording the wish that he sit for a portrait and that it be 'placed in a conspicuous part of the Premises'. Thomas Lawrence received the commission, and the work was exhibited at the Royal Academy in 1802, the year Stonestreet died.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Sir Godfrey Kneller (Lübeck 1646-1723 London)Portrait of Sir Philip Honywood, three-quarter-length, in a breastplate and red coat, before a landscape, a cavalry skirmish in the distance signed and bears date 'GKneller. f/1718' (lower right, GK in ligature) and bears inscription 'Sr. Philp. Honywood Knt. of ye Bath,/ 4th. child of Lodowick Charles/ Honywood Esq 1st Genll: of/Horse. Coll* of Dragoons and/ Govr: of Portsmouth' (lower right)oil on canvas124.4 x 102.3cm (49 x 40 1/4in).Footnotes:ProvenanceHonywood Family, Marks Hall, EssexTheir sale, Humbert, Son & Flint, Marks Hall, 8-11 December 1897, lot 104Private Collection, UKPhilip (circa 1677-1752) was the second son of Charles Ludovic Honywood of Charing, Kent and his wife, Mary Clement. He enjoyed a successful military career, firstly serving under John Churchill, 1st Duke of Marlborough, then later appointed colonel of His Majesty's First Regiment of Dragoons in 1732, and in 1743 made Colonel of the King's Regiment of Horse. Later that year he was awarded the Order of the Bath and died, without issue, in 1752 at Portsmouth, where he was Governor. An equestrian portrait of the sitter, by Bartholomew Dandridge, dated 1751, is known through a mezzotint by James Macardell (see NPG D35950).This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
English School, late 16th CenturyPortrait of Gabriel Goodman, full-length, seated in black extensively inscribed (upper right) and charged with sitter's coat-of-arms (upper left)oil on panel111.6 x 86.4cm (43 15/16 x 34in).Footnotes:ProvenanceProbably commissioned by the sitter, by whom gifted to the Warden, Christ's Hospital, Ruthin (see literature)Collection of the Goodman and Ruthin Charity, WalesLiteratureJ. Steegman, A Survey of Portraits in Welsh Houses, Cardiff, 1957, vol. I, no. 1, p. 91 (as in the Cloisters, Christ's Hospital, Ruthin)R. Strong, Tudor and Jacobean Portraits, London, 1969, vol. I, p.128, under cat. no. 2414 (as untraced)Gabriel Goodman (1528-1601) was Dean of Westminster between 1561 and his death in 1601. He was born on 6 November 1528 at Exmewe House on Saint Peter's Square, Ruthin, Denbighshire, the second son of Edward Goodman (1476–1560), mercer, and Cicely (1493–1583), daughter of Edward Thelwall of Plas-y-ward, a member of the principal family of the Vale of Clwyd. After matriculating at Jesus College, Cambridge in 1546, Goodman became a fellow of Christ's College in 1552. By 1564 he gave his college as Saint John's and this second migration may have followed from his association with Sir William Cecil, from whom he had his employment. He became schoolmaster to Cecil's household at Wimbledon late in 1554, where he would have taught Cecil's elder and as yet only son, Thomas. Between Goodman and Cecil there was established a lifelong friendship. When Westminster Abbey was refounded as a collegiate church on 21 May 1560, Goodman was named one of the twelve canons, becoming Dean on 13 August 1561. In 1574 he built the new schoolhouse at Ruthin, from which the present school dates its origin and honours Goodman as founder. Having acquired the site of the former collegiate church in the town, he procured letters patent of 14 August 1590 to establish Christ's Hospital there. Goodman made an enduring contribution to Westminster School by granting the property at Chiswick held by virtue of his Saint Paul's prebend. In 1575 Goodman used his influence with Cecil (now Lord Burghley) to secure Westminster's right to send a quota of scholars to Christ Church, Oxford. He prompted Burghley to make a benefaction to the school in 1591. The city of Westminster was restructured by act of parliament in 1585, and Goodman became the first head of the new corporation (Burghley was its high steward).Goodman was buried in Saint Benedict's Chapel, Westminster Abbey, where his monument stands, and a painted wooden portrait bust forms part of his monument on the north chancel wall of Ruthin Church. A copy of the present work by George Perfect Harding is in the National Portrait Gallery (NPG 2414- see literature), London, and was engraved in 1822 by Robert Graves.For further information on this lot please visit Bonhams.com
Louis Ferdinand Elle the Elder (Paris 1612-1689)Portrait of a gentleman, half-length, in a black gown with white lace collar and cuffs, holding a book and seated before a landscape bears signature and date 'FAIT PAR FERDINAND/ LAÏSNÉ 1655' (lower right)oil on canvas104.2 x 89.3cm (41 x 35 3/16in).For further information on this lot please visit Bonhams.com
Jan Albertsz. Rootius (Medemblik 1615-1674 Hoorn)Portrait of a lady, standing three-quarter-length, in black costume, holding gloves and a locket inscribed, dated and signed 'Aetatis suae 21. Ao. 1640./ Rotius fe' (upper left)oil on panel111.8 x 87.1cm (44 x 34 5/16in).Footnotes:ProvenancePurchased by Eduardo Secco, Brazil, approximately 80 years ago, from whose family acquired by the present ownerSaleroom notices:Please note that the artist's dates and the date of the present work were incorrectly stated and the catalogue entry should read:Jan Albertsz. Rootius (Medemblik 1624-1674 Hoorn)Portrait of a lady, standing three-quarter-length, in black costume, holding gloves and a locketinscribed, dated and signed 'Aetatis suae 21. Ao. 1646./ Rotius fe' (upper left)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
Workshop of Joos van Cleve (Cleve circa 1485-circa 1540 Antwerp)Portrait of a gentleman holding a martyr's palm oil on panel, possibly cut down35 x 27.5cm (13 3/4 x 10 13/16in).Footnotes:ProvenanceCollection of Lady Leigh, by 1873Sale, Puttick and Simpson, London, June 1901With F. Kleinberger and Hans Wendland, Paris, by March 1928 (according to Friedlander certificate)With Galerie Fischer, Lucerne, 1928 (according to Friedlander certificate)With D. Katz, Dieren (Rheden), by 1952With Frederick Mont, New York CityPrivate Collection, The Netherlands, before 1955LiteratureM.J. Friedlander, Early Netherlandish Painting, Leiden and Brussels, 1972, vol. IX, part 1, p. 69, cat. no. 97, ill., pl. 108The work is offered with a copy of the Friedlander certificate dated 1952.Exhaustive research has failed to yield any record of this painting other than as stated in the provenance. It does not appear on any list of missing works sought for restitution, nor to the best of our knowledge could it be confused with any such work. It is offered for sale with a certificate from the Art Loss Register.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
Johann Joseph Zoffany (Frankfurt-am-Main 1733-1810 Strand-on-the-Green)The Flower Girl; and The Watercress Girl a pair, oil on canvas91.2 x 70.8cm (35 7/8 x 27 7/8in). and 89 x 71.1cm (35 1/16 x 28in). (2)Footnotes:ProvenanceJacob Wilkinson (c.1722-1799) presumably acquired the paintings from the artistThomas Wilkinson (1762 - 1837), son of the aboveJane Anne Brymer (1804-1870), daughter of the aboveWilliam Ernest Brymer (1840-1909) of Ilsington HouseWilfred John Brymer (1883-1957), son of the aboveConstance Mary Brymer (1885-1963), sister of the aboveJohn Hanway Parr Brymer (1913-2005), nephew of the above, and by descent to the present ownersExhibitedLondon, Royal Academy, 1780 (Girl with Water-cresses)LiteratureM. Webster, Johan Zoffany, London, 1976, exh. cat., pp.70-1, under cat. nos. 89 and 90 (as present whereabouts unknown)M. Postle, Angels & Urchins, The Fancy Picture in 18th-Century British Art, London, 1998, p.17, The Watercress Girl; p.18, The Flower Girl, ill., fig. 36; pp.79-80 under cat.no. 57, The Watercress Girl (the mezzotint)P. Treadwell, Johan Zoffany, Artist and adventurer, London, 2006, pp.391-2, ill, pl.1 and 2P. Treadwell, Johan Zoffany, Artist and adventurer, London, 2009, pp.313-16, ill. pp.312, 314M. Webster, John Zoffany, New Haven and London, 2011, pp.399-401M. Postle (ed.), Johan Zoffany RA Society Observed, New Haven and London, 2011, p.34, ill., fig. 28, p.228, under cat.no.52EngravedJohn Raphael Smith, 1780, mezzotint (The Watercress Girl)John Young, 1785, mezzotint (The Flower Girl and The Watercress Girl)John Raphael Smith's mezzotint of 1780 identifies the model for The Watercress Girl as a girl by the name of Jane Wallis. She may have been a relative of Albany Wallis (circa 1713-1800), lawyer and good friend to the actor David Garrick, and as Zoffany was a close friend of Garrick it supports this possibility. Martin Postle suggests alternatively that she may in fact be the actress Tryphosa Jane Wallis, who trod the boards at Covent Garden from 1789, but who was known to have been working in Dublin and London as a child actress. Zoffany's model is indeed very young, as well as being very pretty, and when Girl with Water-cresses was exhibited at the Royal Academy in 1780 a critic wrote in A Candid Review of the Exhibition that 'The artist has been very fortunate in a choice of a most beautiful Girl for his subject and he has copied nature so exactly, that it is not easy to determine whether it is real life or a painting'.This pair of paintings must have been painted soon after Zoffany's return from Italy where he had spent six years from 1773-79, the last of which was in Parma; back in London he took a townhouse in Albermarle Street and rented a rural retreat at Strand on the Green. Taste in London had changed in the years since he left, public taste embracing 'fancy' pictures, a type of genre painting that came from France and the Low Countries which depicted low-life figures in a somewhat sanitised and romanticised way. Zoffany will also have seen works by North Italian genre painters such as Giacomo Ceruti and Giacomo Francesco Cipper while he was in Parma and his Florentine fruit stall in Tate Britain and La Scartocchia now in the Pinacoteca di Parma (both painted in the late 1770s) reflect their somewhat prettified realism. As an acclaimed painter of portraits and conversation pieces he was responding to this shift in taste when he exhibited Girl with Water Cresses at the Royal Academy in 1780. He was also no doubt demonstrating his versatility as an artist, as one of the other two paintings he exhibited at the Academy that year was The Tribuna of the Uffizi now in the Royal Collection Trust. Why he exhibited only one of the present pair is not known, but they were presumably painted more or less contemporaneously. The atmosphere in Britain was ripe for the burgeoning market in fancy pictures in the late 18th Century; the slow decline of the court coincided with the rise of private enterprise, and pleasure became a focus of society at the cost of morality. Trades people, maids and street vendors selling consumable goods became typical subjects for artists. The majority of these subjects were women and there was often an intentional insinuation by the artist that these alluring girls were proffering more than just the goods in their baskets. In truth this notion had more to do with fantasy than reality, since as Martin Postle observed in his book Angels and Urchins, 'the back-breaking labour of selling perishable goods on the streets of London left little time for the average street-trader to indulge in sex with her customers'. The appeal of fancy pictures was as strong with the middle classes as it was with the aristocracy, and the diffusion of these images by way of prints – such as the mezzotints of the present works published by Smith in 1780 and Young in 1785 - made them accessible to a very wide public. We know from the inscription on Young's 1785 mezzotints of the paintings that their owner at that date was Jacob Wilkinson, one of Zoffany's most significant supporters. Wilkinson was a successful businessman, originally from Berwick-upon-Tweed, who made his fortune as a merchant in London and subsequently became MP for Berwick in 1774. From 1782-3 he was a Director of the East India Company and it was he who sponsored Zoffany's application to travel to India; he sailed there in 1783 and remained there for a number of years. Wilkinson commissioned Zoffany to paint his portrait which now hangs at Chequers: it shows a man of both economic and physical substance whose confident gaze is directed out of the picture to the left rather than at the viewer. Given the close relationship between Zoffany and Wilkinson we can surmise that The Flower Girl and The Watercress Girl were sold to him direct from the studio. On Wilkinson's death they passed to his son and executor Thomas and descended in the family to the present owners. They have not been shown in public during that period although Manners and Williamson erroneously recorded them as having been exhibited in Paris in 1908 and 1909, lent by Thomas Baring (see V. Manners and G.C. Williamson, John Zoffany, R.A., his Life and Works, London, 1920, pp.229, 283. These were presumably copies, one having appeared on the market in 1988 at Sotheby's (17 February, lot 252) with the Baring provenance and sold as 'Studio of Zoffany'.For further information on this lot please visit Bonhams.com
Attributed to Jacques-Laurent Agasse (Geneva 1767-1849 London)Portrait of an officer of a British Hussar Regiment, three-quarter-length, in uniform oil on canvas, unlined95.5 x 75.2cm (37 5/8 x 29 5/8in).unframedFootnotes:ProvenancePrivate Collection, UK, for at least 20 yearsThis flamboyant portrait depicts a young officer of a British Hussar regiment, seen here in his red and gold barrel sash and pelisse. However, it is not possible to determine the exact regiment, given the lack of distinguishing features, such as the headdress and sabretache. It has been suggested that he is likely to be an 18th Hussar, from circa 1812, whose officer wore white facings and silver lace.The present portrait has a traditional attribution to Jacques Laurent Agasse and is listed as such on the Paul Mellon Centre photographic archive (object no. PA-F07397-0015). Although best known for his animal and sporting pictures, Agasse also painted a number of portraits, including that of Edward Cross, offered by the Trustees of the Zoological Society of London at Christie's, London, 9 July 1993, lot 49, which is of the same dimensions as the present work.For further information on this lot please visit Bonhams.com
Reutter, Otto -- Photographer: Reichard Lindner. The German cabaret singer and comedian Otto Reutter. Circa 1910. Vintage gelatin silver print. 19 x 12,5 cm. Signed, dated (1919) and dedicated by the sitter in ink in lower portion on recto, flush-mounted to cabinet card (slight traces of use) with photographer's embossed name below image, dedicated by Reutter in ink on mount verso. This early portrait of Otto Reutter was gifted to his colleague the singer Paul Britton as the dedication on the recto and verso indicate. – Some surface scratches/scuff marks, otherwise in good condition.
Ottoman Empire -- Photographer: Pascal Sébah (1823-1886) and possibly others. Attractive and very comprehensive portrait album showing a wide range of people living in the Ottoman Empire. 1860s-1870s. Circa 400 cartes-de-visite sized albumen prints, mounted to album pages, each annotated in ink in French below the images on the mount (time-stained/soiled in edges), bound in contemporary half leather canvas album (edges rubbed/small tears, corners worn) with gilt embossed title Collection des Types et Costumes de la Turquie par Pascal Sébah. This exceptionally comprehensive album features portraits of nearly all the peoples and cultures within the Ottoman Empire around 1860-70, as well as neighboring regions under its influence. It vividly illustrates the remarkable diversity of the empire’s political, economic, and cultural life, including portraits of high-ranking officials, officers, and armed personnel in their various uniforms and attire. The collection also includes images of embassy staff, eunuchs, and dwarfs from the Sultan’s court, as well as priests and bishops representing the spectrum of Oriental Christian religions. Additional groups, such as dervishes, mullahs, sheikhs, street vendors, veiled women, farmers, Jews, musicians, pilgrims and beggars, further enrich this extraordinary album. – Some faded in edges, some light scuff marks, otherwise most in very good condition. Lit.: Bahattin Öztuncay. The Photographers of Constantinople. Pioneers, studios and artists from 19th century Istanbul. Istanbul 2006 (2nd edition), ill. p. 494-499 (street sellers).
Galdi, Vincenzo -- Portrait of a youth in Roman tunic. Circa 1900. Albumen print. 22,3 x 16,5 cm. Photographer's stamp, address "Via Campania lett: B Roma" and number "1156" in blue crayon on the verso. Vincenzo Galdi was an Italian photographer and protégé of Wilhelm von Plüschow, celebrated for his contributions to nude photography. Originally a model in many of his mentor’s photographs, Galdi quickly gained a reputation as one of the most prolific and bold nude photographers in Naples and later in Rome during the late 19th century. – Some light handling marks, pressure marks in corners from album slits, some fading in edges, otherwise in very good condition.
North Africa -- Photographers: Alexandre Bougault (1851-1911), Frères Garriques (active 1860s-1890s), and others. Views of North Africa. Late 1890s-early 1900s. 40 albumen and gelatin silver prints mounted to gilt-edged album pages (some foxing). Each between 12,3 x 18 cm and 23 x 39 cm (26 x 37 cm). Some with photographer's name and/or title in the negative in lower margin. Bound in green leather-backed album with gilt-embossed title Northern Africa 1908. This 1908 album provides a focused visual record of North Africa during the French colonial era, particularly Tunisia and Algeria. Featuring the work of photographers such as Alexandre Bougault and the Garrigues Frères, it captures key landmarks such as the Al-Zaytuna Mosque in Tunis, the Royal Hotel in Biskra, and the oases of Tozeur and Nefta. A notable inclusion is a portrait of Sadok Bey, the last ruler of the Beylik of Tunis. – Some fading and signs of oxidation visible along edges of prints, otherwise in good condition.
Daguerreotypes -- Photographer: Louis Auguste Bisson (1814-1876). Mother and son. 1845. Sixth plate daguerreotype in wooden frame. 8,5 x 7 cm (19,5 x 17,5 cm). Photographer's initials embossed below image on mount. With original studio label, dated "juillet 1845" in black ink on frame verso.Louis-Auguste Bisson was a pioneering French photographer known for his early use of daguerreotypes in portrait photography. His detailed, high-quality images contributed to the rise of portraiture in mid-19th century France, and though he later became renowned for architectural photography, his work with daguerreotypes helped establish the medium’s popularity. – Some light signs of oxidation and silver mirroring along edges of plate, otherwise in very good condition.
Lebeck, Robert -- St. Pauli. 1961. Gelatin silver print, printed later. 25 x 37,5 cm (30,2 x 40,5 cm). Signed, titled and dated by the photographer in pencil and photographer's stamp on the verso.The German photographer Robert Lebeck made influential contributions in documentary and portrait photography. His career spanned several decades and encompassed a wide range of subjects, including politics, culture, and society. Lebeck's work often captured pivotal historical moments and iconic figures, making him a prominent photojournalist. – Some buckling in upper/lower edges, otherwise in very good condition.
COLLINS, Wilkie. The Life of William Collins, Esq. London: Longman, Brown, Green, and Longmans, 1848. 2 vols., first edition, 8vo (198 x 123mm.) Engraved portrait, 2 additional engraved titles, 32pp. publisher’s catalogue to the rear of vol. 1. (Lacking front endpapers and preliminaries to both volumes, adhesive remains to pastedowns, spotting to additional titles.) Original brown blind-stamped cloth (fading and wear to spine ends, staining). Note: Wilkie Collins’ first book. Provenance: Elisabeth Smart (ink name to title of vol. 2). – And a further ten volumes by Wilkie Collins (including ‘The Moonstone’, [lacking preliminaries], 1890, 8vo) (12).
ROLLIN, Charles. Histoire Ancienne des Egyptiens, des Carthaginois, des Assyriens… Paris: la Veuve Estienne, 1740. 6 vols., 4to (253 x 189mm.) Half-titles, titles in red and black, engraved portrait frontispiece, 12 engraved folding maps, including 9 with outline hand-colouring, 2 engraved plates. (Heavy browning in places, spotting to margins, some dust-soiling.) Contemporary calf (lacking some lettering pieces, insect-damage to spine ends, dust-soiled, worn). – And a further three volumes (T.C. Banks’ ‘The Dormant & Extinct Baronage of England’, 3 vols., 1807-1809, 4to) (9).
SEWELL, Anna. Black Beauty, the Autobiography of a Horse. London: Jarrold and Sons, 1894. First illustrated edition, inscribed by L. Edith Sewell, 4to (248 x 141mm.) Illustrations by John Beer, tipped-in portrait frontispiece. (Toning, occasional finger-mark.) Original pictorial blue cloth (fading to spine and upper cover, extremities rubbed). Note: ‘Black Beauty’ was Anna Sewell’s only novel. She died in 1878, five months after publication. After a lifetime of fitful poverty she lived long enough to see her novel become a success. Anna had no children but her brother, Philip, had seven and Lucy Edith Sewell was one of her five nieces. Provenance: ‘Benny’ (gift inscribed to in ink on the half-title by L. Edith Sewell).
METCALF, John. The Life of John Metcalf, Commonly Called Blind Jack of Knaresborough. With Many Entertaining Anecdotes of his Exploits in Hunting, Card-Playing, &c. Some Particulars relative to the Expedition against the Rebels in 1745… And also a Succinct Account of his various Contracts for Making Roads, Erecting Bridges, and Other Undertakings in Yorkshire, Lancashire, Derbyshire, and Cheshire. York: E. and R. Peck, 1795. First edition, 12mo (165 x 95mm.) Engraved portrait frontispiece by J.R. Smith. (Marginal loss to frontispiece affecting image, some loss to B6 text affected, tear to G1, browning and spotting throughout, lacking blanks.) Contemporary half calf (worn). Note: the extra-ordinary autobiography of John Metcalf who was rendered blind by smallpox at the age of six but who went on to become an expert horseman, soldier, cock-fighter, card-player and musician, as well as building over 180 miles of road. – And to include a lead plaque of John Metcalf (2).
CULPEPER, Nicholas. Culpeper’s Complete Herbal, to which Is Now Added, Upwards of One Hundred Additional Herbs, With a Display of Their Medicinal and Occult Qualities. London: Thomas Kelly, 1819. 4to (261 x 200mm.) Engraved portrait frontispiece, 40 hand-coloured plates, 4pp. ‘General Index’. (Creasing to initial blank, illegible gift inscription verso frontispiece, front-free endpaper loosened and margins chipped, plate 37 with partial excision, occasional browning.) Contemporary calf (joints splitting, extremities rubbed).
![MINIATURE BOOK. – Galilei GALILEO. Galileo a Madama Christina di Lorena (1615). Padua: Salmin, 1896 [colophon May 1897]. 128m](https://cdn.globalauctionplatform.com/7db59910-33c2-4d56-b765-b22d009bfb0f/25558ed2-0aa8-4204-a430-b23001051928/468x382.jpg)
MINIATURE BOOK. – Galilei GALILEO. Galileo a Madama Christina di Lorena (1615). Padua: Salmin, 1896 [colophon May 1897]. 128mo (16mm x 11mm.) Wood-engraved portrait. (Uncut leaves.) Original printed wrappers (creases to spine). Note: written in 1615 but first published in 1636 Galileo’s letter to his friend and patron Madama Christina was an attempt to unite Copernicanism with the doctrines of the Catholic church. Brondy has described this as the most important scientific book to be printed in miniature. Printed in the small ‘fly’s eye’ type it was for a long while considered ‘the smallest printed from movable type’. [Brondy, pp. 95-96].
GURWOOD, John (editor). The Dispatches of Field Marshal The Duke of Wellington, During His Various Campaigns… London: Parker, Furnivall, and Parker, 1844-1847. 4 vols. (only, of 8). 8vo (232 x 143mm.) Half-titles, engraved portrait frontispiece. (Spotting to all preliminaries and rear leaves, marginal damp-stain to frontispiece.) Contemporary half calf (rebacked, spotting to pastedowns, insect-damage to extremities, slightly dust-soiled). Provenance: Frederic Thesiger, Lieutenant General, Viceroy and Governor-General of India 1916-21 (bookplates to front pastedowns). – And a further seven volumes (including John Gurwood’s ‘Selections From the Dispatches and General Orders of Field Marshal The Duke of Wellington’, 1841, 8vo, and Roger North’s ‘The Lives of the Right Hon. Francis North, Baron Guildford, Lord Keeper of the Great Seal, under Charles II’, 3 vols., 1826, 8vo, and Patrick F. Tytler’s ‘England Under the Reigns of Edward VI. And Mary, with the Contemporary History of Europe’, 2 vols., 1839, 8vo) (11).
FENELON, Francis de Salignac de la Mothe. A Demonstration of the Existence and Attributes of God. London: W. Taylor, 1720. Second edition, 12mo (159 x 92mm.) Engraved portrait frontispiece. (Browned, occasional light spotting.) Contemporary calf (lacking lettering piece, extremities rubbed, label remains to front pastedown). – And a further three volumes by Fénelon (‘Explication des Maximes des Saints sur La Vie Interieure’, 1697, 12mo, and ‘The Adventures of Telemachus, Son of Ulysses’, 2 vols., 1743, 8vo) (4).
VINE PRESS (publisher). – Victor NEUBURG (editor). Larkspur: A Lyric Garland. Steyning: The Vine Press, 1922. Limited edition, this being number 7 of 40 De Luxe copies made from hand-made paper from an edition of 590, signed and inscribed by the author, 8vo (227 x 149mm.) Hand-coloured woodcut illustrations by Dennis West. (Mild toning.) Original red cloth-backed pictorial boards, gilt lettering to spine (fading to spine, damp-stain to lower cover, browned to edges). Note: the inscription reads: ‘The Artist: from the Editor, fraternally, May 19, 1923, Steyning, Sussex, Victor Neuburg’, also signed in ink under the portrait frontispiece. Provenance: Dennis West (ink inscription from Victor Neuburg on the front-free endpaper). – And a further volume published by the Vine Press (Rupert Croft-Cooke’s ‘Songs of a Sussex Tramp’, 1922, 8vo) (2).
WHITMAN, Walt. Leaves of Grass. Philadelphia: David McKay, 1891-92. ‘Deathbed Edition’, second issue, 8vo (212 x 135mm.) Engraved frontispiece with tissue-guard at p.29, 2 mounted photographs of Walt Whitman to initial blank, extra portrait plate mounted to front pastedown. (Toning, some leaves to rear trimmed, some spotting to last leaf.) Original green cloth, gilt lettering to spine, t.e.g. (extremities lightly bumped, gilt fading). Note: with Whitman’s 7-line recommendation to the copyright page indicating this be the definitive text for future publication. BAL’s binding C. The inscription, written a year after Whitman’s death, reads: ‘To Albert J. D., from Fred M., March 2nd 1893. ‘For the love of Comrades’. (Written with W.W.’s pen)’. Provenance: ‘Fred M.’ (gift inscribed from in ink to the second blank); ‘Albert J. D.’ (gift inscribed to on the second blank).
BINDING. – Henry Noel HUMPHREYS. Sentiments and Similes of William Shakespeare. London: Longman, Brown, Green et al., 1857. Second edition, 8vo (193 x 146mm.) Chromolithographed first page, initials in black and gold, ruling in gold. (Text-block cracking at ‘Contents’ leaf, spotting to preliminaries and rear blank.) Original cloth-backed black papier-mâché binding with oval relief portrait of Shakespeare to centre and author’s initials to lower cover, g.e. (corner losses to upper cover of binding, two cracks to lower cover, extremities rubbed). – And a further ten illustrated volumes (including ‘The Prism of Imagination’ by The Baroness de Calabrella and with illustrations heightened by Owen Jones, [lacking several leaves], 1844, 8vo, and G. Baxter’s ‘The Pictorial Album; or, Cabinet of Paintings’, [1837], [with 8 of 11 plates], 4to, and ‘Passages From Modern English Poets. Illustrated by the Junior Etching Club’ [disbound, lacking 4 leaves], [1865], 4to) (11).
CERVANTES SAAVEDRA, de Miguel. The History and Adventures of the Renowned Don Quixote. Translated From the Spanish… by T. Smollett. Dublin: John Chambers, 1796. 4 vols., 8vo (202 x 123mm.) Engraved portrait frontispiece by Bartolozzi, 10pp. ‘List of Subscribers’, 19 engraved plates. (Lacking half-titles, browning, occasional damp-staining, mainly to plate margins.) Contemporary calf (some insect-damage, worn). Provenance: S. Moore’s Cheap Book Warehouse, Cork (stamp to front pastedowns). – And a further eleven literary volumes (including Walter Scott’s ‘The Poetical Works’, 8 vols., 1822, 12mo). Provenance: by descent, from the estate of Frederic Thesiger, Lieutenant General, Viceroy and Governor-General of India 1916-21 (15).
![WILLIAMSON, Henry. [The Flax of Dreams.] London: Faber & Faber and Jonathan Cape, 1929-1931. 3 vols. (of 4), limited edit](https://cdn.globalauctionplatform.com/7db59910-33c2-4d56-b765-b22d009bfb0f/c3f48c01-e65e-4b9a-926b-b2330116c6bf/468x382.jpg)
WILLIAMSON, Henry. [The Flax of Dreams.] London: Faber & Faber and Jonathan Cape, 1929-1931. 3 vols. (of 4), limited edition, being one of 200 copies signed by the author, 8vo (228 x 146mm.) Original buckram (spines faded, stain to upper cover of vol. 1). Note: comprises books, 1, 3 and 4. ‘The Beautiful Years’ is no. 112 of 200, ‘The Dream of Fair Women’ is unnumbered, ‘The Pathway’ is no. 97, all signed by Henry Williamson. – And together with an original framed portrait of Henry Williamson’s dog ‘Billjohn’. On the back of the portrait Williamson has written: ‘FACTS, Please. This Portrait of my dog BILLJOHN was painted by Mrs. F.T. Nicholson (Royal Academy Exhibition for many years) for Lieut. H. Williamson 1st Bedfordshire Regt, during the great WAR. It was done as a souvenir, for he was ordered to INDIA. The war ceased- and he went not four months later (March 1919) came the crashing of The Beloved Illusion, Henry Williamson’.
c1658 Oliver Cromwell copper pattern Farthing, no portrait (Peck 388, North 2738). Obverse: three pillars, linked by a chain and surmounted by a cross, a harp and a thistle, star/mullet initial mark followed by 'TVHS · VNITED · INVINCIBLE' around, no letter under the pillars. Reverse: ship sailing leftwithin a rope circle, mullet initial mark ' AND GOD DIRECT OVRCOVRS' around. Weight: 4.56g. Diameter: 22mm. Grade: aVF - rich, attractive brown tone with one flat spot to the edge, no other real issues for around Very Fine. Comes with an old ticket. While this piece dates from Oliver Cromwell's reign as Lord Protector it does not feature his portrait, unlike some other coins and patterns of the period. Numismatists attribute the design of this pattern Farthing to a moneyer named David Ramage, whose 'R' initial is seen on other variants. Ramage's engravings meet the challenge of designing copper coinage without a royal portriat by incorporating straightforward puritan symbols. The three pillars represent the three kingdoms: England, Scotland and Ireland. The ship represents the state, sailing on a fair Protestant wind. The strident English inscriptions - 'Thus united invincible and God directs our course' - are typical of the interregnum period, professing the righteousness of the Commonwealth government.
Theodosius I the Great (379-395 AD) silver Siliqua, Trier. Obverse: diademed, draped bust, right, 'DN THEODO-SIVS P F AVG' around. Reverse: Roma holding a spear, seated on a cuirass holding the figure of Victory, 'TRPS' in exergue, 'VIRTVS ROMANORVM' around. Weight: 1.56g. Diameter: 16mm. Grade: aF - around Fine, strong portrait, reverse slightly weaker.
1902 Edward VII silver Sixpence (S 3983, ESC 1786, Bull 3598). Obverse: bare-head portrait, right, 'EDWARDVS VII DEI GRA: BRITT: OMN: REX FID: DEF: IND: IMP:'. Reverse: 'SIX PENCE' with crown above within a wreath of olive and oak branches, the date (1902) below. Grade: PF 64 Matte (#5880395-009).
Edward IV silver Penny, second reign (1471-1483), York mint (likely S 2127). Obverse: facing crowned bust, no marks by neck. Reverse: long-cross pattée with three pellets in each angle and a quatrefoil at the intersection, 'CIVITAS-' around. Weight: 0.56g. Diameter: 15mm. Grade: gF - an excellent portrait but short on flan, otherwise good Fine.
Nero (54-68 AD) orichalcum Sestertius, Lugdunum. Obverse: laureate head right, 'IMP NERO CLAVD CAESAR AVG GER P M TR IMP PP' around. Reverse: Roma, seated on a cuirass, 'ROMA' below. Weight: 2.96g. Diameter: 35mm. Grade: strong portrait with clear legend, the reverse having suffered harsh environmental damage. Numismatists use the term 'orichalcum' to refer to a brass alloy used to make some Roman coins. Orichalcum or 'aurichalcum' is mentioned by several ancient writers. Plato says this mysterious metal was mined in the mythical city of Atlantis.
A FINE 18 BORE SPANISH MIQUELET-LOCK SPORTING GUN BY MIGUEL DE ZEGARRA, CIRCA 1770 ‡ with blued barrel formed in two stages and retained by two pierced barrel bands, fitted with silver ‘spider’ fore-sight, moulded ‘saddle’ iron back-sight, finely hammered over the fore-end in imitation of fur, octagonal breech hammered with a scale pattern, struck with the gold-lined barrelsmith’s marks (Neue Støckel 1192, 8587), further decorative marks and sprays of foliage over the breech, gold-lined vent, chiselled and gilt tang decorated with scrolls of foliage and rococo scrolls, flat bevelled lock struck with a further gold-lined maker’s stamp (Neue Støckel 8586), inscribed ‘En Madrid’ and engraved with scrolls, fitted with chiselled moulded cock with finely engraved bridle, chiselled and gilt steel, and gold-lined pan, figured walnut full stock, fluted butt, finely engraved mounts comprising butt-plate, trigger-guard with gold-lined maker’s stamp en suite with the lock, and sideplate with a portrait profile, and horn-tipped wooden ramrod with steel terminal, and in fine condition throughout, 92.5 cm barrel Miguel de Zegarra (active circa 1740-83) apprenticed to Gabriel Algora, became honoury gunsmith to Carlos III in 1768 and his official gunsmith in 1771.
A RARE 40 BORE COMMONWEALTH PERIOD OFFICER'S ENGLISH-LOCK PISTOL, CIRCA 1650 â—‰ with copper alloy barrel formed in two stages, decorated with a band of naïve lightly punched scrollwork on the breech, a pair of punched and incised girdles at the median and cast with a raised breech moulding (the barrel shortened by up to 5.0 cm), engraved iron tang, bevelled trapezoid lock retained by three side-nails, fitted with separate pan, horizontally acting sear and dog safety-catch engaging a flat broad-breasted cock (top-jaw and screw restored, the steel restored from an early alteration), figured walnut full stock, fluted fore-end (the forward 10.0 cm and the fore-end cap expertly restored), flattened butt carved with a wheat-husk moulding behind the barrel tang, punched with small decorative stars along the spine of the butt, pommel fitted with associated ivory cap (the ivory with a small repair) and enclosed by a band of copper alloy engraved with strawberry foliage, copper alloy trigger-guard incised with a wavy linear pattern en suite with the cock and safety-catch, and one small brass ramrod-pipe (ramrod restored), 52.1 cm overall ProvenanceCaptain Farquharson, Invercauld Castle, sold Sotheby's 30th June 2004, lot 102An Important English Private Collection LiteratureJohn Cooper, An English Holster Pistol of Commonwealth Date, in The Park Lane Arms Fair 2006, p. 65Brian Godwin, The Luttrell Pistols, in The Park Lane Arms Fair 2013, no. 16, p. 91. The principal characteristics of the lock place it within the type 2 category of the 17th Century English-locks as identified by Graeme Rimer in his study of the firearms at Littlecote House, subsequently expanded upon by Messrs Godwin, Cooper and Spencer in their published survey. See Goodwin, Cooper and Spencer, 2003. The leading terminal of the lock-plate on the present pistol is distinctly angular and as such is very unusual. A similar configuration exists in a musket of circa 1640, in the armoury at Dunster Castle, Somerset. Another comparable example is found in a pistol worn by Abraham Stanyan in his portrait (dated 1644), exhibited 'The Age of Charles I', the Tate Gallery, 1972 (op. cit. fig.73).
A FINE AND WELL MATCHED COMPOSITE NORTH ITALIAN THREE-QUARTER ARMOUR WITH ETCHED DECORATION, CIRCA 1590comprising close helmet with rounded one-piece skull rising to a high roped medial comb (pierced at its apex for attachment of a plume, and showing a small patched repair) pierced with nine holes in rosette-formation at each side at the base, fitted at its nape with plume-holder, visor, upper bevor and lower bevor attached to it by common fluted pivots, the visor sloping forward to a centrally-divided vision-slit (lacking lifting-peg), the prow-shaped upper bevor pierced at its right with nine ventilation-holes and secured to the lower bevor at the same side by a pierced stud and swivel-hook (the latter replaced), and three gorget-plates front and rear (the lowest front lame cracked through and repaired); collar formed of a single deep plate front and rear, each struck with a small octopus-like mark and secured at the right by a stud and key-hole slot (small chips on the left); breastplate formed of a main plate of deep 'peascod' fashion, embossed with a pair of adorsed volutes beneath the neck-opening, fitted at its arm-openings with originally movable gussets, pierced with two holes at its right for a lance-rest, and flanged outwards at its lower edge to receive a fauld of one lame, fitted at each side with three straps supporting a pendent tasset of six lames (the fifth at the left with a small chip); one-piece backplate formed at its lower edge with a short biliobate flange, fitted at either side of the neck with a buckle (replaced) for a shoulder strap and at its waist with a belt (replaced); two pauldrons of asymmetrical design (not a pair), each embossed front and rear with a volute and formed of seven and eight lames respectively; vambraces of fully articulated tubular design, each fitted at its upper end with a turner of two lames, and at its elbow with a winged bracelet couter of three lames; two gauntlets (not a pair) each formed of a flared and pointed tubular cuff closed at the inside of the wrist by an overlapped join, four and five metacarpal-plates respectively, a knuckle-plate, the left decorated with a roped transverse rib, (thumb-and finger-scales missing); upper leg-defences each formed of a cuisse with a short gutter-shaped main plate fitted at its lower edge with a poleyn of four lames of which the second is formed at its outside with a large medially-puckered oval side-wing; the main edges of the armour formed with file-roped inward turns and recessed borders accompanied by narrow bands of cabling, and its surfaces decorated with etched designs including classical portrait rondels on the volutes of the breastplate, backplate and pauldrons, the latter each accompanied by a large cartouche front and back enclosing scenes from the Labours of Hercules, bands and borders of ornament consisting of trophies of arms within ropework borders all on a blackened and stippled ground and enclosed between narrower bands of guilloche, a number of secondary borders with slender frames of beadwork, and the principle elements painted with the early inventory number ‘29’ (small areas of pitting, the cuisses attached by rivets to the tassets, releathered) Stand not included ProvenanceOne of the group of armours purchased by Lord Somers in 1853, stated (incorrectly) to be of Emperor Charles V’s bodyguard and preserved in Milan for many years.Charles Somers Somers-Cocks, 3rd Earl Somers (1819-83), Eastnor Castle, thence by descent LiteratureLady Henry Somerset, Eastnor Castle, London 1889, p. 21: ‘On stands round the Hall are ranged thirty-three three-quarter suits of plate armour, each consisting of helmet, back and breast plates, lobster cuisses and knee-pieces, pauldrons, arm-pieces and gauntlets. This was the armour of the body-guard of the Emperor Charles V, and was preserved in Milan for many years, where it was purchased by Lord Somers in the year 1853.’ This armour would have been intended for use without greaves. The decoration is very well matched throughout, perhaps assembled from two, or a small number of armours from a series. A further pair of cuisses from this series are preserved in the Wallace Collection (inv. no. A293 & A294).
AN AUSTRIAN MILITARY PALLASCH, CIRCA 1711-30 ‡ with broad double-edged blade, etched with the crowned Imperial double eagle, ‘Vivat Printz Eugen’ and ‘Vivat Carolus Sixtus’, a classical Imperial portrait profile, ‘Imperator Germaniae Rex Bohemia’ on the respective faces at the forte, iron hilt of pallasch with a pair of straight langets, quillon with moulded terminal, engraved ‘3ZIII’ beneath, shaped outer-guard joined to the knuckle-guard by an s-shaped bar, thumb-loop, back-strap engraved twice with the Cross of Burgundy, border-engraved cap pommel, wire-bound leather-covered grip, in its leather-covered iron-clad Hungarian style scabbard, the edges reinforced with strips of differing length, bound with ten bands, engraved chape, and four rings for suspension, 85.7 cm blade ProvenanceRobert Brooker Collection inv. no. S869
A RARE NORTH EUROPEAN BASKET-HILTED BACK-SWORD, EARLY 17TH CENTURY, DUTCH OR ENGLISH ‡ with long single-edged blade formed with three slender near full-length fullers on each face and with two marks, an eye lash and a copper alloy lined star, on one face, iron hilt comprising a pair of vertically recurved quillons with moulded knop-shaped terminals, basket-guard formed of a series of bars joined by saltires carrying rondels and short scrolling bars, two-stage brioche-shaped pommel, and the grip bound with plaited wire with a single ‘Turk’s head’ at the base (the upper missing, pitted throughout), 103.7 cm blade ProvenanceRobert Brooker Collection inv. no. S704 The hilt is very close to one found in the river Maas, near Mook. The distinctive pommel is similar to that on a sword shown in the portrait of Sir Thomas Tresham at Boughton House. See Blair 1982, pp. 215-219.
AN AUSTRIAN MILITARY SWORD, THIRD QUARTER OF THE 17TH CENTURY ‡ with straight blade of flattened-diamond section, engraved with foliage and a brief inscription on face at the forte (worn, areas of pitting), iron hilt of rounded bars, comprising down-curved quillon with globular terminal, asymmetrical figure-of-eight shaped guard fitted with a finely pierced and chiselled sprung-in plate front and back, decorated respectively with a classical portrait profile of Leopold I within a wreath of laurel between the letters ‘L’ and ‘I’ for Leopold Imperator and elaborate ball flowers, frontal guard interrupted by a small double globular moulding, knuckle-guard en suite, thumb-loop, engraved globular pommel decorated with foliage, and the grip with a later copper alloy wire binding between ‘Turk’s heads’, 92.0 cm blade ProvenanceRobert Brooker Collection inv. no. S798
Φ Dame Laura Knight DBE, RA, RWS (1877-1970) The FawnSigned Laura Knight (lower right)Oil on canvas40.8 x 61.2cmProvenance: Phillips, 28 April 1997, lot 63;Sotheby’s, New York, 18 June 1997, lot 65;Private CollectionExhibited:London, Leicester Galleries, Recent Paintings by Laura Knight, April 1939, no.20"Among wild growth on the Estate this baby fawn has been found – a newly born little creature deserted. One of my friends fed it from a bottle and kept it happy. Eventually it went back to the wild. I do not know what type of deer it was, but was entranced with the lovely little creature, so timid, but trusting".- Dame Laura Knight in a letter regarding the present workLaura Knight painted this work in the 1930s, whilst she and her husband Harold were staying with their close friend George Cross at Compton Hall, Compton Chamberlayne near Salisbury. The Knights first met Cross in 1928, when he commissioned Laura to painting a portrait of Rosemary Ealand. They became close friends, and the Knights spent several Christmases at Compton Hall in the early 1930s. Both artists painted several works there, and on occasion Harold was joined by Lamorna Birch to take advantage of the trout fishing available on the estate.We are grateful to John Crofts for his assistance cataloguing the present work. The painting is no.339, in his forthcoming catalogue raisonné of Laura Knight's work.
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