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283287 Los(e)/Seite
Los 1645
GRAUPENSTEIN, FRIEDRICH WILHELM (1828-1897) "Portrait eines bärtigen Herren im Frack, 1881" Öl auf Leinwand, HxB: 72/61 cm, Rahmen, Farbaplatzer. GRAUPENSTEIN, FRIEDRICH WILHELM (1828-1897) "Portrait of a bearded gentleman in tailcoat, 1881" Oil on canvas, HxW: 72/61 cm, frame, colour flaws.
Los 1627
KOLTETZKY oder KOLTEZKIJ, V. (russischer Maler 19./20. Jh.), "Portrait", u.re. in kyrillischen Lettern signiert, um 1920, Öl/Leinwand, HxB: ca. 74x53 cm (85x65 cm mit Rahmen). Craquelé, Farbabplatzer, minim. Berieb von Rahmenabdruck. restauriert. Mit Rahmen. KOLTETZKY or KOLTEZKIJ, V. (Russian painter 19th / 20th century), "Portrait", signed in Cyrillic letters, arround 1920, oil / canvas, HxW: approx. 74x53 cm (85x65 cm with frame). Craquelure, paint flaks, minimal Operation from frame imprint. restored. With frame.
Los 83
A matched pair of satinwood and carved mahogany urns and pedestalsone urn and pedestal circa 1775, the other of a later date but probably 19th centuryThe lidded classical urns with pine-cone finials, one enclosing a lead liner, above ovoid bodies with guilloche borders and applied ram's heads and swagged bellflowers, with male and female portrait medallions, above stiff leaves and fluted collars, on stiff leaf carved socle bases and stepped plinths; the square pedestal tops with leaf moulded edges, each front carved with classical urns flanked by scrolling acanthus and grotesque masks, above scrolling riband tied acanthus flanked by angled pilasters, headed by leaf and pine-cone carving with trailing bellflowers, on plinth bases, one pedestal enclosing a lead lined drawer and shelf, with a concealed tap in the top, the later copy entirely in mahogany, each 56cm wide, 56cm deep, 189cm high, (22' wide, 22' deep, 74' high) (2)Footnotes:A related pair of George III carved mahogany sideboard pedestals and urns with applied carving to the pedestals and similar urns are illustrated in F. Lewis Hinckley, Hepplewhite, Sheraton and Regency Furniture, London 1990, p.229. An urn of closely related form with similar lotus-leaf banding and swagged husks and medallions forms part of a cast-iron stove for the Saloon at Castle Coole, Co. Fermanagh by Carron Iron Co., Falkirk, Scotland (the house designed by James Wyatt), see H. Montgomery Massingbird and C. Simon Sykes, Great Houses of Ireland, London, 1999, p.11. Other Stove urns of this type include one in the collection at Temple Newsam, see C. Gilbert, Furniture at Temple Newsam and Lotherton Hall, Bradford, 1978, Vol III., p.629, Fig.773 and another formerly at Compton Place, Sussex and now in the collection of the V&A (M.3-1920).Similar shaped painted urns and pedestals with applied decoration to the pedestals were designed by Robert Adam and supplied to the re-modelled dining room at Saltram circa 1780 and are illustrated in R. Edwards, The Dictionary of English Furniture, Vol. III, 1954, London, p.139, fig.5. Designs for related urns with carved pedestals were published by George Hepplewhite in his 'The Cabinet Maker and Upholsterers Guide, third edition, 1794, pl.35&36.Sideboard pedestals and urns became fashionable in the 1760s. The pedestals themselves provide extra storage and often contained a plate warmer or cellaret drawer. The urns were normally lined to hold either iced water or water for rinsing cutlery in the dining room. Sheraton wrote in his Cabinet-Makers' and Upholsterers' Encyclopeodia (1805) that 'Pedestals with vases at each end of the sideboard, one was used as a plate warmer, while the other sometimes contained a cellaret for wine while the vases 'are used for water for the use of the butler, and sometimes made of copper japanned, but generally of mahogany'.This lot is subject to the following lot symbols: TPTP Lot 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
Los 27
A rare late 18th century relief-carved lime wood panel depicting a vase of flowers, signed and dated Putman 1790possibly an allegory relating to the Declaration of the Rights of Manthe finely carved flowers including roses, ranunculus, narcissus, poppies and lilac, the vase decorated with a frieze depicting Britannia and Plenty flanking two oval pendants - one with a brazier on a plinth, the other with a cockerel standing on a reeded plinth with a laurel wreath to the base, the pedestal foot resting on a platform scattered with four coins or medallions, three decorated with portrait bust, the last vacant, two busts bearing striking resemblances to Benjamin Franklin & the Marquis de Lafayette, the whole supported by four recumbent lions and centred by a sea serpent,, signed and dated to the left hand bottom corner fecit . putman . Sculp . 1790, later mounted in a glazed and carved and parcel gilt rectangular box frame, the panel, 55cm x 38cm, the frame, 71cm x 53cm Footnotes:The Declaration of the Rights of ManThe Declaration of the Rights of Man and of the Citizen (Déclaration des droits de l'homme et du citoyen de 1789) is a human rights document which originated from the French Revolution and was enacted by France's National Constituent Assembly in 1789. Inspired by the philosophers of the Enlightenment, the Declaration was the fundamental statement of the values of the French Revolution and had a major impact on the development of popular conceptions of individual liberty and democracy in Europe and worldwide. Drafted by the Abbé Sieyè, the Marquis de Lafayette, and Thomas Jefferson it was subsequently included in the beginning of the constitutions of both the Fourth French Republic (1946) and the Fifth Republic (1958). The Declaration, the Magna Carta, the 1689 English Bill of Rights, the 1776 United States Declaration of Independence, and the 1789 United States Bill of Rights, hugely influenced part of the 1948 United Nations Universal Declaration of Human Rights.For further information on this lot please visit Bonhams.com
Los 1819
(THH) A rare pair of Grand Tour type alabaster relief portrait plaques of Charles Edward Stuart 'Bonnie Prince Charlie' and Henry Benedict Stuart, each in an octagonal ebonized and brass mounted frame, with applied and engraved decoration, 29.5cm wide, each with bronze 'Legitimacy of the Jacobite Succession' medal suspension.
Los 1456
A case and a box of ephemera relating to George May and family, retailer of clocks, jewellery etc. in Diss, Circa early-mid 20th Century, including several real photographic postcards of G.May & Son shop fronts, Diss and Fulham Road, London; Diss Reserves 1910-11 real photograpic postcard; two large oval hand coloured portrait photos of May family members; three 19th Century framed daguerrotypes; a leather jewellery box with assorted contents etc.
Los 27
After Sir Anthony van Dyck, 17th CenturyPortrait of Charles I; and Portrait of Henrietta Maria, both in painted ovals a pair, oil on canvas 65.5 x 52.6cm (25 13/16 x 20 11/16in). (2)in carved Florentine framesFootnotes:ProvenanceThe Collection of the Hon. Mrs Douglas Vickers, Chapel House, Charles Street, London, by whom soldSale, Christie's, London, 25 July 1938, lot 26 (bt Spink)Private Collection, AustraliaThe present works are based on van Dyck's double portrait, now in Galleria Palatina, Pitti Palace, Florence.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 3
Attributed to Frans Pourbus the Elder (Bruges 1545-1581 Antwerp)Portrait of a lady, bust-length, in black costume with a white lace collar and headdress oil on panel42.2 x 32.4cm (16 5/8 x 12 3/4in).Footnotes:ProvenanceThe Collection of Mr and Mrs F. Springell family, before 1960, by descent toMrs G.B. Springell, by whom offeredSale, Sotheby's, London, 9 March 1983, lot 9 (as Attributed to Frans Pourbus the Elder), where purchased by the present owner's late fatherExhibitedManchester, City Art Gallery, Exhibition of Works of Art from Private Collections in the North West of England and North Wales, 21 September- 30 October 1960, no. 55 (lent by Mr and Mrs. F. Springell, according to a label on the reverse)For further information on this lot please visit Bonhams.com
Los 39
Attributed to John Singleton Copley (Boston 1737-1815 London)Portrait of Henry Addington, 1st Viscount Sidmouth, half-length, in a brown coat, seated holding a letteroil on canvas90.2 x 71.2cm (35 1/2 x 28 1/16in).Footnotes:ProvenanceIn the present owner's family, UK, for at least 10 yearsA childhood friend of William Pitt the Younger, to whom his father was physician, Addington entered politics as M.P. for Devizes in 1784 and became Speaker of the House of Commons in 1789. When Pitt resigned from office in 1801 both he and the King insisted that Addington take over as Prime Minister, which he did somewhat reluctantly. His administration is best remembered for managing to secure the Peace of Amiens with Napoleon in 1803, but without allies at this time, Britain's options were limited to defence. Addington did increase the forces, provide a tax base that could finance an enlarged war, and seize several French possessions. Also, to gain allies, he cultivated better relations with Russia, Austria, and Prussia, later culminating in the Third Coalition shortly after he left office. Addington also strengthened British defences against a French invasion through the building of Martello towers on the south coast and the raising of more than 600,000 men at arms. Without a strong enough hold on both houses of parliament he was forced from office in March 1804. He nonetheless continued to hold various offices of state thereafter, which included Lord President of the Council 1805 and Home Secretary 1812-1822. In 1802 Addington had accepted the honorary position of Vice-President for life on the Court of Governors of London's Foundling Hospital for abandoned babies.For further information on this lot please visit Bonhams.com
Los 4
Caspar Netscher (Heidelberg 1639-1684 The Hague)Portrait of a gentleman scientist, probably Constantijn Huygens, half-length, standing beside a group of miscroscopes signed and dated 'CNetscher.Fec. 1680' (lower left, CN in ligature)oil on canvas48.6 x 39.2cm (19 1/8 x 15 7/16in).Footnotes:ProvenanceSale, Leslie Hindman Auctioneers, Palm Beach (Florida), 29 September, 2016, lot 9 (as Caspar Netscher of an unknown man), whence acquired by the current ownerThe composition of this important record of the 17th century Scientific Revolution can be related closely to another portrait by Caspar Netscher in the Musée du Louvre, which includes a similar group of microscopes on a stone plinth. The Louvre portrait is believed to depict Nicolaas Hartsoeker (1656-1725), who is best known for publishing the design for a simple screw-barrel microscope in 1694. He was fascinated by microscopes and visited Antoni van Leeuwenhoek at the age of sixteen and in 1678 he travelled to Paris as an assistant to Christiaan Huygens. Between 1684 and 1698 he lived there with his wife and sold lenses and microscopes.Since it is dated 1680 when Hartsoeker would have been only 24, it is suggested the artist must have used the composition of the present painting as the model for the Louvre portrait, and the obvious candidate for the present sitter would be either Nicolaas Hartsoeker's mentor in the design of microscopes, Christiaan Huygens (1629-95), or Christiaan's elder brother and collaborator, Constantijn Huygens (1628-1697). Christiaan had been earlier portrayed by Netscher in 1671 (Haags Historisch Museum, The Hague, on loan to the Boerhaave Museum, Leiden); but a drawing believed to be a self-portrait of Constantijn Huygens the Younger, which has been dated to 1685, shows a closer resemblance to the present portrait. Caspar Netscher was known to have also painted these two brothers' father, Constantijn Huygens the Elder and it would have been likely that he would have painted a portrait of his elder son, as well as that of his younger son, Christiaan. The Huygens family were part of an artistic circle: Constantijn Senior was a friend of Rembrandt and he had also had his portrait painted by Caspar Netscher, as well as by Jan Lievens, Michiel van Mierevelt, Thomas de Keyser and Adriaen Hanneman; while the younger Constantijn Huygens was a keen draughtsman himself and as a connoisseur of the arts served William III (to whom he followed his father in the role of private secretary) in setting up the gallery in Kensington Palace. A Dutch physicist, mathematician, astronomer and inventor, Christiaan Huygens is widely regarded as the most important scientist between Galileo and Isaac Newton. In physics, Huygens made ground-breaking contributions in optics and mechanics, while as an astronomer he is chiefly known for his studies of the rings of Saturn and the discovery of its moon, Titan. While Constantijn was also a diplomat and diarist who has been compared to his English contemporary, Samuel Pepys, he was known mostly for his work on scientific instruments. From the 1650s he assisted his brother in the construction of lenses and between 1683 and 1687 the two brothers continued to make larger and longer focal length telescopes, culminating in very large tubeless aerial telescopes. Constantijn presented a 19 cm diameter, 37.5 m long focal length aerial telescope objective to the Royal Society in 1690 that still bears his signature. Although dubbed the 'Galileo Microscope', the large microscope to the left with a brass body and scrolled legs was the late 17th century instrument that replaced Zacharias Janssen's original 16th century compound microscope and other subsequent microscopes. To the right of this instrument is shown an elegant silver device which appears to be based on the simple microscope designed by Christiaan Huygens, which would have operated in a manner similar to the innovative microscope invented by Antonie Philips van Leeuwenhoek, by placing the high-powered lens next to the eye. Christiaan sketched several designs for such a simple microscope in his notebooks and in letters to his brother in the course of the year 1678. Christiaan and Constantijn were remarkably close in their collaboration, personally grinding their lenses together and, as a mark of how ahead of their time they were they were even known to have discussed the possibility of extra-terrestrial life while at the telescope. An inferior version of the present composition, 48.5 x 39.5 cm., attributed to Constantine Netscher, is in the State Hermitage Museum, Saint Petersburg.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 40
Gilbert Stuart (Saunderstown 1755-1828 Boston)Portrait of Mrs Hammond Dorsey, seated three-quarter-length, in a white dress and an ermine-trimmed robeoil on panel83.8 x 66.8cm (33 x 26 5/16in).together with volumes I, II and III of The Pickering GenealogyFootnotes:ProvenanceThe sitter and thence by descent to the present ownerLiteratureH. Ellery and C. Pickering Bowditch, The Pickering Genealogy, 1897, vol I, p. 270, ill. p. 268 Mrs Hammond Dorsey was the daughter of the Federalist Senator Timothy Pickering (1745-1829) who was painted by Stuart in 1808 and was Secretary of State in George Washington's administration. It is thought that the painting was commissioned by Elizabeth's brother, Henry Pickering.For further information on this lot please visit Bonhams.com
Los 52
Sir Joshua Reynolds (Plympton 1723-1792 Richmond), and StudioPortrait of Sir John Lockhart-Ross, 6th Bt., three-quarter-length, in naval uniform oil on canvas126.8 x 101.8cm (49 15/16 x 40 1/16in).Footnotes:ProvenancePossibly painted for Lord HyndfordPossibly Collection of Sir William BassPossibly, his sale, Knight, Frank & Rutley, Berkeley Lodge, 30 June 1913, lot 1475Sale, Christie's, London, 29-30 September 1977, lot 88 (bt. D C Cooke)Collection of James W. DeLasho, USA, until 2018Private Collection, USALiteratureA. Graves and G. Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., London, 1899, vol. II, cat. no. 591D. Mannings, Sir Joshua Reynolds, A Complete Catalogue of his Paintings, New Haven and London, 2000, p. 310, cat. no. 1141, fig. 545 John Lockhart was from a Scottish family and was the fifth son of Sir James Lockhart, 2nd Baronet of Carstairs. He had a distinguished naval career and served as Hawke's flag-captain in the Royal George. Two years before he married in 1762 he inherited his brother's estate at Balnagown in Ross-shire, as a condition of which he changed his name to Ross. For a number of years he managed his estates, returning to sea to command the Shrewsbury in the Channel Fleet in 1777. The following year he inherited the family baronetcy and was made a Rear-Admiral soon after, subsequently being elevated to Vice-Admiral of the Blue in 1787.This painting appears to be the version of the Ross portrait painted for Lord Hyndford, possibly sold in the Sir William Bass sale at Berkeley Lodge in 1913 and subsequently at Christie's, London, September 29-30, 1977 (lot 88). A payment was logged in Reynolds's records for 1763 for a painting of 'Capt. Lockhart for Lord Hindford'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 57
Attributed to Alessandro di Cristofano Allori (Florence 1535-1607)Portrait of Cosimo I de Medici, half-length, in violet fur-lined costume oil on panel86.3 x 64.7cm (34 x 25 1/2in).Footnotes:ProvenanceWith Simon Dickinson Ltd., London, where purchased by the present ownerThe present portrait is based on Bronzino's 1559 portrait of Cosimo I de' Medici (1519-1574), showing the sitter at the age of 40. A number of versions exist of the portraits of Cosimo, both by Bronzino himself, who was court portraitist to the Medici, and by members of his studio which included Alessandro Allori. In addition to painting portraits and devotional works, Allori also participated in the decoration of Francesco I's studiolo in the Palazzo Vecchio, Florence, under Vasari. Florence was established as an imperial duchy governed by the Medici in the 1530s and Cosimo held the title of Duke of Florence (1537-69) before being made first Grand Duke of Tuscany in 1569. This portrait shows him as a determined and strong leader, but he is chiefly remembered today for his patronage of the arts. He was responsible for building the Uffizi (intended as administrative offices) which now house one of the world's greatest art collections, as well as completing the Pitti Palace as a Medici home and creating the Boboli Gardens behind it. He commissioned numerous works from the major artists of the day including Pontormo, Vasari and Cellini and his court was frequented by notable Humanists and poets. For a discussion on the many variants of this composition see Robert B. Simon, Bronzino's portraits of Cosimo I de Medici, 1982, vol II, pp 273-307, cat. Nos B1-39.For further information on this lot please visit Bonhams.com
Los 69
Attributed to Cornelis Ketel (Gouda 1548-1616 Amsterdam)Portrait of Sir George Gill of Wyddial Hall, Hertfordshire, three-quarter-length, in armour inscribed 'IN DESPECTO DE FORTUNO' (upper left) and dated and charged with sitter's coat-of-arms 'Ao 1578.' (upper right)oil on panel108.4 x 69.9cm (42 11/16 x 27 1/2in).Footnotes:ProvenancePrivate Collection, GermanyFrom the date and the coat-of-arms the sitter in the present portrait can be identified as George Gill (or Gyll) of Wyddial (before 1565 – 1619) who was an officer in the English army and was on the expedition which sacked Cadiz in 1596, along with Robert Devereux, 2nd Earl of Essex, Lord Thomas Howard, Sir Walter Raleigh, and Sir Francis Vere, each of whom commanded a squad.The coat-of-arms on the painting has been identified by Thomas Woodcock FSA, Garter King of Arms at the College of Arms in London, as follows: the first quarter is Lozengy Argent and Sable a Lion rampant guardant Argent; the second quarter, Argent two chevronels Sable each charged with three Mullets Argent on a Canton Gules a Lion passant gardant Or; the third quarter Argent on a Fess Sable between three Crosses formy Gules three Martlets Or; and the fourth quarter Argent three Bars and in chief three Mulletts Gules. Somewhat unusually the second as well as the first quartering can be identified as those of the Gill family. The third quartering is that of the family of Canon, indicating that the sitter is the descendant of the marriage of John Gill and Margaret, daughter and heir of George Canon of Wyddial in 1508. This couple had four sons, the eldest of whom was George Gill who was recorded as dying in 1568; this George Gill's eldest son was John Gill of Buckland and Wyddial who was High Sheriff of Hertfordshire in 1575. His eldest son, another George, was the sitter in the present picture. Interestingly, the fourth quartering on the portrait seems to be a slight mis-interpretation of the arms of Washington, ancestors of the American President, which are Gules three bars and in chief three Mullets Argent (some of the tinctures have been reversed). There is no surviving evidence either to show that Gill's mother was or was not an heraldic heiress of the Washington family, but there is only one other coat (that of Kempston in Warwickshire) which is remotely similar. Wyddial Park, formerly the seat of the Gill family, consists of an estate of 1,187 acres close to the village of Wyddial (or Widiall), which is a parish in the hundred of Edwinstree in the county court district of Royston, in the north-east corner of Hertfordshire. This tiny village lies on the pre-Roman Icknield Way, deemed to be the oldest road in Britain, and probably first used in the late stone age. The ancient church of Saint Giles there contains several stained glass windows, including two in the aisle thought to be by a Dutch or Flemish artist of the 17th century, and some monuments and brasses to the Gulston, Gill and Ellis families; there are also brasses commemorating the Gill family which date from 1535-1600.For further information on this lot please visit Bonhams.com
Los 71
Arthur Devis (Preston 1712-1787 Brighton)Portrait of Mrs Bates as a shepherdess, full-length, seated in a landscape signed and indistinctly dated 'Art:Devis/fe 17*0' (on rock, lower centre)oil on canvas61.2 x 41.8cm (24 1/8 x 16 7/16in).Footnotes:ProvenanceCollection of Mrs J.D WarrenSale, Christie's, London, 13 May 1983, lot 167The sitter, Mrs Bates, was the sister of Sir John van Hattem of Dinton Hall, near Aylesbury.For further information on this lot please visit Bonhams.com
Los 86
George Romney (Beckside 1734-1802 Kendal)Sketches for Viscountess Bulkeley as Hebe brush and brown ink on laid paper30.9 x 28cm (12 3/16 x 11in).Footnotes:ProvenanceCollection of R.C. Harford (according to a label on the reverse)Sale, Christie's, London, 6 June 1972, lot 90With Agnews, London (according to a label on the reverse)Collection of Dr Alfred Scharf, and by descent to the present ownerThe present sketch is a study for Romney's life-size oil portrait of Elizabeth Warren, later Lady Bulkeley (1757-1826) now in the National Museum, Cardiff (see fig. 1). It was commissioned by the sitter's father for whom Romney had painted a family portrait in 1769 when Elizabeth was just a child. Possibly the 1776 portrait of Elizabeth – for which there were six sittings - marked her engagement as it shows her at the age of 18 or 19. Romney has chosen to show her as Hebe, cupbearer to the gods, standing in a dramatic landscape with her shawl billowing out behind her. While the subject was one that was popular with other artists of his time, the treatment both in Romney's sketches and the finished painting was entirely new and marks a watershed in his stylistic development. The bold, sweeping brush strokes in the present ink study are a product of his recent trip to Italy (1772-5) in the company of his fellow artist Ozias Humphrey, and they became a hallmark of his ink sketches over the next decade. This greater spontaneity is also reflected in the finished painting of Elizabeth which has a new freedom that was to characterise his portraits thereafter. So while this commission was significant in relaunching Romney's career after his return to London, it also marks an important turning point in his working practice.A full length drawing for the same composition, formerly the property of Mrs E. Russell Jacks, was offered at Christie's, London, 17 June 1969, lot 140.For further information on this lot please visit Bonhams.com
Los 9
Studio of Sir Peter Lely (Soest 1618-1680 London)Portrait of a lady, said to be Lady Duke, seated three-quarter-length, in a blue dress oil on canvas124.6 x 99.8cm (49 1/16 x 39 5/16in).Footnotes:ProvenanceThe Collection of Lieutenant-Colonel Walter R. Tyrell, Haughley, Suffolk, by whom soldSale Christie's, London, 14 March 1892, lot 127 (bt Brown)The Collection of Captain W. W. Browne, 1892 (according to a label on the reverse)For further information on this lot please visit Bonhams.com
Los 10
GILLRAY (JAMES)The Works... from the Original Plates, with the Addition of Many Subjects Not Before Collected, bound in 2 vol. (including the 'Suppressed Plates'), large woodcut vignette on title, engraved frontispiece portrait by Charles James after Gillray, 632 engraved plates (numbered 1-582, bis nos. 100, 207, 379, 379** and 379***, 2 plates numbered 86, without a plate 238 as issued; 45 supplementary plates), up to 4 images per page recto and verso, image 179 shaved touching upper margin, final 15 leaves of first volume with light dampstain in upper margin, front free endpaper loose, light dampstain upper corner of final few leaves of second volume, contemporary red half morocco, first volume worn, dampstain to upper cover, loss to marbling of lower cover, some loss to foot of spine, joints split, second volume rubbed, upper hinge cracked, folio (635 x 480mm.), Henry G. Bohn, [c.1847]Footnotes:Includes the volume of 'suppressed plates', sexually suggestive or scandalously offensive political images which the publisher chose to exclude from the main collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 102
CAMDEN (WILLIAM)Britannia: or, a Chorographical Description of the Flourishing Kingdoms of England, Scotland, and Ireland, and the Islands of Adjacent, 4 vol., second edition ('enlarged by the latest discoveries by Richard Gough'), engraved portrait, 57 mostly folding engraved maps by John Cary, 105 engraved plates, some light browning and spotting, contemporary maroon half morocco, gilt lettering on spines, some uneven fading to spines [Chubb CCLXXII], folio (432 x 270mm.), J. Nichols and Son, for John Stockdale, 1806Footnotes:Provenance: Robert Goff, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 135
TOLSTOY (LEO NIKOLAYEVICH)Cabinet card portrait by Scherer and Nabholz showing the author half-length, WITH PRESENTATION INSCRIPTION FROM THE AUTHOR TO HIS FRIEND S.I. PLAKSIN, albumen print, the author's inscription ('Сергею Ивановичу Плаксину на память от Л.Толстого', 'To Sergey Ivanovich Plaksin in memory from L. Tolstoy') written vertically to the left, and the date ('10 ноября 1894', '10 November 1894') to the right, inscribed in turn on the reverse by Plaksin in red ink ('В знак памяти дарю этот драгоценный экземпляр моим друзьям Ивану/ Павловичу и Евдокии Андреевне Киселевым/ С.Плаксин/ 1 мая 1922г/ Одесса', 'As a token of remembrance, I present this precious image to my friends Ivan Pavlovich and Evdokia Andreevna Kiselev/ S. Plaksin/ 1 May 1922/ Odessa'), slightly faded, worn around edges and with 2 cracks affecting the image, dampstain on reverse affecting one word of inscription, 163 x 108mm. 1894; together with a copy of Plaksin's book Л.Н.Толстой среди детей ('L.N.Tolstoy Among Children'), Moscow, P.D. Sytin, 1903 (2)Footnotes:FINE ASSOCIATION PHOTOGRAPH, INSCRIBED BY TOLSTOY TO HIS CLOSE FRIEND SERGEY PLAKSIN. Sergey Ivanovich Plaksin (1854-after 1922), Russian editior, writer and functionary, had moved as a child to Hyères in Southern France, a favoured winter retreat for writers and artists. In a futile attempt to save the life of his ailing brother Nicholas, Tolstoy arrived there in 1860, and the author's sister Mariya Nikolayevna Tolstaya ended up sharing a villa with Plaksin's family. This period and the two families' friendship is described in Plaksin's book L.N.Tolstoy Among Children, where the photograph offered here is mentioned on page 7. A copy of the book is included in the lot.The portrait, two copies of which are held by the National Portrait Gallery (with the photographer unattributed), was sent by Tolstoy in a letter to Plaksin dated 17 October 1894 (L.N. Tolstoy. Collected Works [in Russian], vol. 67, p.244). At the time Plaksin was living in Odessa, working as Inspector of Printing Houses and the Book Trade, and was engaged in editing the Odessa Almanach for 1895; he wrote to the author asking for a portrait which he could illustrate in the volume, and Tolstoy in return sent back the cabinet card, a retouched version of which was duly published in the Almanach. The portrait is also mentioned by Tolstoy in a letter dated 6 November 1902 (L.N. Tolstoy. Collected Works [in Russian], vol. 72, pp.327-328, available at http://tolstoy.ru/creativity/90-volume-collection-of-the-works).Literature: Одесский альманах. Ежегодный справочный календарь-сборник на 1895-й год ('Odessa Almanach. Annual Reference Calendar for the year 1895'), Odessa, Yu. N. Sandomirskiy, 1894; S.I. Plaksin, Л.Н.Толстой среди детей ('L.N. Tolstoy Among Children'), Moscow, P.D. Sytin, 1903, p.7.Provenance: Leo Tolstoy, presentation inscription to Sergey Ivanovich Plaksin; Ivan Pavlovich and Evdokiya Andreevna Kiselyovy, presentation inscription from Plaksin dated 1 May 1922 on reverse; Tatyana Danilovna Klimenko-Rotgauz (1909-1990), actress in the Riga Russian Theatre, presented to her by her parents in 1937; thence by descent to the present owner.Further details in Russian and English available on request.For further information on this lot please visit Bonhams.com
Los 143
NOSTRADAMUSLes Propheties, 2 parts in 1 vol., edited by Vincent Sève, woodcut portrait of Nostradamus on title, some soiling, duplicate of signature E from part 2 bound into part 1, dampstain to upper section of last 2 gatherings, old ownership stamp ('Proestat Amor Patriae') on title and facing leaf, later green vellum [Benazra p.156; Chomarat 166, variant foliation], [Troyes?], 1605; Les Propheties... dont il y en a trois cents qui n'ont encores iamais estés imprimées; [GRUGET (FRANCOIS)] Recueil des propheties et revelations, together 3 parts in 1 vol., woodcut printer's device on title-pages, light browning and soiling, dampstaining to last part, B2-4 slightly frayed at bottom corner (no loss of text), old limp vellum, soiled, upper joint split [Benazra p.170; Chomarat 176], Troyes, Pierre Chevillot, [1611], 8vo; and 2 others, incomplete copies of the same 2 editions (4)Footnotes:The first Seve edition, possibly printed by Pierre du Ruau, together with Chevillot's edition of a few years later.Provenance: First two volumes, Daniel Ruzo, bookplates.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 145
NOSTRADAMUSLes Propheties.. dont il y en a trois cents qui n'ont encores iamais estés imprimées; GRUGET (FRANÇOIS) Recueil des propheties et revelations, together 3 parts in 1 vol., woodcut printer's device on title-pages, first title with additional woodcut portrait of Nostradamus mounted on verso, some light browning and dampstaining, old ink notes in French on rear free endpaper, contemporary limp vellum, soiled, lower joint split [Benazra p.170; Chomarat 176], 8vo, Troyes, Pierre Chevillot, [1611]Footnotes:Provenance: Daniel Ruzo, bookplate; his sale, Swann, 23 April 2007, lot 37.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![[NOSTRADAMUS][-] Petit discours ou commentaire sur les centuries de Maistre Michel Nostradamus, issue with no text on pp.30-](https://cdn.globalauctionplatform.com/478fc58d-23a3-4aa2-8e29-ac8a00d3fc8c/4153a0b8-26a7-4854-93e4-ac8d00ce7ddc/468x382.jpg)
Los 146
[NOSTRADAMUS][-] Petit discours ou commentaire sur les centuries de Maistre Michel Nostradamus, issue with no text on pp.30-31 (i.e. with final blank), date on title amended in ink to 1621, modern limp morocco, titled in gilt, small adhesion mark from old label [Benazra p.182; Chomarat 182], no publisher, 1620--GUYNAUD (BALTHASAR) La Concordance des prophéties de Nostradamus avec l'histoire, depuis Henri II jusqu'à Louis le Grand, la vie et l'apologie de cet auteur, ensemble quelques essais d'explication sur plusieurs de ses autres prédications, engraved portrait, wanting errata leaf, contemporary calf, spine gilt, spine ends chipped, jopints cracking [Benazra p.273; Chomarat 308], Paris, Jacques Morel, 1693--DE LA FOREST DE BOURGON [-] Alphabet geographique, des empires, royaumes, etats, pays, isles, villes, caps, montagnes... que l'on trouve dans l'histoire ancienne... avec leurs Noms modernes, one leaf repaired slightly affecting text, modern morocco, adhesion mark from small label, Paris, Jean Musier, 1709, 12mo (3)Footnotes:Provenance: All three works, Daniel Ruzo, bookplates; his sale, Swann, 23 April 2007, lots 65, 81 (giving Mazuel as publisher, presumably in error) and 90. Third work, 'J. Dangueuger prester 1714', inscription on title; Salomon Silva of Bordeaux, full-page inscription dated 1747 on fly-leaf, referring to 'La Clef de Nostradamus'; Bibliotheque Occulte du C[om]te d'Ourches, barely visible embossed stamp facing title.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 150
MAZARINADESCollection of 7 anti-Mazarin pamphlets citing Nostradamus, bound in 4 vol., comprising: Propheties sur les affaires du temps present et advenir. Tirée de la Centurie II. Prop. 34. 35. de M. Nostradamus. Et ce que dit Kepler pour la presente année 1649, [2] leaves, 1649; Visions astrologiques de Michel Nostradamus sur toutes les affaires de ce temps. Et la confusion de Mazarin en vers burlesques, 11 pages, 1649; L'Horoscope de Jules Mazarin, naifvement & fidellement expliquée des Centuries de M. Nostradamus, woodcut illustrations, [4] leaves, 1649; [MENGAU (JACQUES] Avertissement a Messieurs les Prevost des Marchands et Eschevins de Paris. Contenant l'explication de l'eclipse qui se doit faire le huictiesme jour d'Avril de la presente année, & autre choses qui doivent arriver a la poursuite du Cardinal Mazarin... predit par Michel Nostradamus, woodcut portrait of Nostradamus on title, 15 pages, 1652; Second advertissement a Messieurs les Prevost des Marchands et Eschevins de Paris. Sur le retour funeste de Mazarin... Predict par Michel Nostradamus, woodcut portrait of Nostradamus on title, 13 [i.e. 24] pages, 1651; Troisiesme advertissement a Messieurs les Prevost des Marchands et Eschevins de Paris. Contenant la trefue ou paix generalle predite par Michel Nostradamus, 2 editions in 1 vol., each with woodcut portrait of Nostradamus on title, 16 and 24 pages, with a duplicate of the second loosely inserted, 1651, occasional soiling, gutter margins reinforced with clear tape, one or two tears without loss, modern textured boards--Les Triolets du temps, selon les visions d'un petit fils du grand Nostradamus, 11 pages, disbound, 1649, 4to, Paris (5)Footnotes:Provenance: Daniel Ruzo, bookplates; his sale, Swann, 23 April 2007, lot 97.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 151
NOSTRADAMUSLes propheties de M. Michel Nostradamus. Medecin du Roy Charles IX. et l'un des plus excellens Astronomes qui furent iamais, 2 parts in 1 vol., woodcut portrait of the author on title, some light soiling and browning, a few headlines shaved, typewritten description in Spanish tipped to rear endpaper, early nineteenth century calf gilt, spine ends chipped, front joint cracked [Benazra p.207-209; Caillet 8070, 'meilleure edition'; Chomarat 105], 8vo, Lyon, [no printer], 1568 [but Troyes, 1649]Footnotes:Counterfeit edition printed in 1649 in order to discredit Cardinal Mazarin, whose enemies introduced two spurious quatrains to Century 7, beginning 'Quand Innocent tiendra le lieu de Pierre, le Nizaram [i.e. Mazarin] Cicilien se verra en grands honneurs mais apres il cherra, dans le bourbier d'une civille guerre'.Provenance: Danile Ruzo, bookplate; his sale, Swann, 23 April 2007, lot 24.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![[JAUBERT (ETIENNE, attributed to)]Eclaircissement des véritables quatrains de Maistre Michel Nostradamus, FIRST EDITION, fu](https://cdn.globalauctionplatform.com/478fc58d-23a3-4aa2-8e29-ac8a00d3fc8c/b3d51327-00c4-4d4f-b414-ac8d00ce92ed/468x382.jpg)
Los 156
[JAUBERT (ETIENNE, attributed to)]Eclaircissement des véritables quatrains de Maistre Michel Nostradamus, FIRST EDITION, full-page engraved portrait of Nostradamus, errata leaf at end, occasional browning, stains to A1-4 and P2v, contemporary calf, gilt panelled spine, corners worn, spine ends chipped and joints cracked, front free endpaper removed [Benazra p.231; Chomarat 225], 12mo, [Amsterdam?], 1656--JANT (JACQUES DE) Explication des prédictions tirées des centuries de Nostradamus, sur la presente guerre de France avec la Hollande, woodcut vignette of Nostradamus on title and of skeleton on p.27, waterstain to first c.20 pages, nineteenth century calf gilt, slightly rubbed [Chomerat 261; not in Benazra], 16mo, 'Sur l'Imprimé a Lyon chez Marcelin Gautherin,' 1672; Prédictions tirées des centuries de Nostradamus. Qui vray semblablement se peuvent appliquer au temps présent, et à la guerre entre la France et l'Angleterre, contre les Provinces Unies, 3 parts in 1 vol., one folding plate (only, of 3), light dampstaining, contemporary limp vellum [Benazra p.248; Chomarat 264], small 8vo, [Rouen], 1673; and another (4)Footnotes:Provenance: First work, Daniel Ruzo, bookplate. Second work, Comte Camille de Grassis and Daniel Ruzo, bookplates; Ruzo's sale, 23 April 2007, lot 86.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 158
NOSTRADAMUSLes Vrayes centuries et propheties, additional engraved title showing the execution of Charles I and the Fire of London, full-page engraved portrait of Nostradamus, contemporary mottled calf, spine neatly restored [Benazra p.245, no.80; not in Chomarat], Paris, Jean Promé, 1669; Les Vrayes centuries et propheties, additional engraved title showing the execution of Charles I and the Fire of London, full-page engraved portrait of Nostradamus, some light dampstaining, worming in and near gutter (heavier towards end and affecting text in places), contemporary sheep, worn, upper joint split [Benazra p.243; Chomarat 247], Paris, Jean Ribou, 1668; Les Propheties, 2 parts in 1 vol., titles with large woodcut portrait, some repairs to margins of first title (shaving date and border of portrait) and first and last few leaves (3 or 4 with with text just affected), later vellum with title and imprint inink on upper cover [Benazra p. 236; Chomarat 230], Lyon, [Part 2: Jean Balam], 1665; Les Vrayes centuries et propheties, additional engraved title showing the execution of Charles I and the Fire of London (near detached), full-page engraved portrait of Nostradamus, repair to C1 affecting text, old ownership inscription in heavy ink on title, later mottled sheep, spine severely wormed and defective [Benazra p.241; Chomarat 246; Willems 1797, 'jolie édition dont les beaux exemplaires sont rares et fort recherchés'], Amsterdam, Jean Jansson & Weyerstraet, 1668; idem, 2 further copies of the same edition, one lacking the last 15 leaves ('Presages'), the other lacking engraved title and 2 preliminary leaves with portrait, 12mo (6)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 159
NOSTRADAMUSThe True Prophecies or Prognostications of Michael Nostradamus, Physician to Henry II. Francis II. and Charles IX. Kings of France, and one of the Best Astronomers that ever were. A Work full of Curiosity and Learning, Translated and Commented by Theophilus de Garencieres, text of prophecies in French and English, engraved portrait (laid down, edges slightly chipped), some dampstaining, browning and rust marks, lacking leaves 3M2-3 (supplied in facsimile), Ss2 with part of headline torn from top margin, occasional ink annotations, early twentieth century half buckram [ESTC R230636], folio, John Salusbury, 1685This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 163
NOSTRADAMUSLes Vrayes centuries et propheties, additional woodcut title showing the execution of Charles I and the Fire of London, portraits including Nostradamus, Henry IV and Louis XIV (the first 2 full-page), repair to verso of title with loss of text (and following leaf to a lesser extent), some light soiling and dampstaining, contemporary sheep, gilt panelled spine, remnant of old label ('G') on upper cover [Benazra p.269; Chomarat 302], Rouen, Jean B[aptiste] Besongne, 1691; idem, another edition, illustrations as above but with variant portrait of Louis XIV, fly-leaf with old notes in French and Latin, modern half morocco, spine gilt, with adhesion mark from old label [Benazra p.291; Chomarat 321], Rouen, Jean B[aptiste] Besongne, 1710; idem, another edition, engraved portraits of Nostradamus (remargined), Cesar Nostradamus, Henri II, Henri IV and Louis XIV, plate of execution of Charles I, wanting directions to binder leaf at end, repair to title affecting ornament, slight browning, later catspaw calf, attractive gilt panelled spine, small adhesion mark from old label on covers [Benazra p. 265; Chomarat 303, calling for 2 additional preliminary leaves], Lyon, Antoine Besson, [c.1690], 12mo; and 4 others (7)Footnotes:Provenance: First volume, Abbé Hector Rigaux, curé of Argoeuvres (noted Nostradamus authority and collector), ownership inscription on fly-leaf; H. Forne, Paris, 1860, inscription on title and stamp on fly-leaf and at end. Second volume, Daniel Ruzo, bookplate. Third volume, H. Jarraut 1903, signature on front free endpaper.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![[NOSTRADAMUS]Group of 3 spurious works, comprising: Explications des songes nocturnes... le tout tiré exactement des écrits](https://cdn.globalauctionplatform.com/478fc58d-23a3-4aa2-8e29-ac8a00d3fc8c/388ca3e6-2776-47d2-83ab-ac8d00ce9b23/468x382.jpg)
Los 165
[NOSTRADAMUS]Group of 3 spurious works, comprising: Explications des songes nocturnes... le tout tiré exactement des écrits de Mr. Michel Nostradamus de Salon, 36 pages, woodcut portrait on title, Paris, Antoine Raffle, 1704--Propheties ou predictions perpetuelles composée [sic] par Michel Nostradamus pour l''utilité des marchands, forains, laboureurs, vignerons & autres, woodcut portrait on title, 'Selon', Benoist Mauclerc, [late eighteenth century?]--Les Grandes propheties du grand Nostradamus sur le Grand Salon de Peinture de l'an de Grace 1787... Le tout dicte par le Prophete a Jean Lait-Par-Mil 44 pages, etched frontispiece and title soiled, dampstained and repaired at gutter, Salon [i.e. Paris], 1787, some browning and soiling, modern leather, adhesion marks from old labels, 12mo and 8vo; and 5 others (8)Footnotes:Provenance: Daniel Ruzo, bookplates.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![[NOSTRADAMUS][HAITZE (PIERRE-JOSEPH DE)] La Vie de Nostradamus. Par Pierre Joseph, a little light dampstaining and browning,](https://cdn.globalauctionplatform.com/478fc58d-23a3-4aa2-8e29-ac8a00d3fc8c/1b8a32cb-45e5-4c26-bbc2-ac8d00ce9cbf/468x382.jpg)
Los 167
[NOSTRADAMUS][HAITZE (PIERRE-JOSEPH DE)] La Vie de Nostradamus. Par Pierre Joseph, a little light dampstaining and browning, modern calf, red morocco spine labels, slight adhesion mark from old label [Chomarat 327; this edition not in Benazra], Aix, chez la Veuve de Charles David et Joseph David, 1712--[LE ROUX (JEAN)] La Clef de Nostradamus. Isagoge ou introduction au veritable sens des Propheties... par un solitaire, varying degrees of browning, light dampstain to opening leaves, contemporary calf, gilt panelled spine with red morocco label, rubbed, head of spine chipped [Benazra, p.284; Chomarat 323], Paris, Pierre Giffart, 1710--GUYNAUD (BALTHASAR) La Concordance des prophéties de Nostradamus avec l'histoire, depuis Henri II jusqu'à Louis le Grand, la vie et l'apologie de cet auteur, ensemble quelques essais d'explication sur plusieurs de ses autres prédications, engraved portrait, without final blank, later calf, spine gilt, spine ends chipped, joints starting [Benazra p.29a; Chomarat 326], Paris, Jacques Morel, 1712--[CHAVIGNY (JEAN-AIME DE) attributed to] La Vie et le testament de Michel Nostradamus, some browning, nineteenth century morocco-backed boards, spine gilt , Paris, Gattey, 1789, 12mo; and another (5)Footnotes:Provenance: Second work, Antoine Orsetti, old ink signature; Rappaport of Rome, bookseller's ticket. First, second and fourth works, Daniel Ruzo, bookplates; Swann, 8 November 2007, lots 260, 263 and 255.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 17
LEONARDO DA VINCIA Treatise of Painting... Translated from the Original Italian... to Which is Prefix'd, the Author's Life, engraved portrait frontispiece, title printed in red and black, 35 engraved plates (4 folding, a few light pencil annotations), 12pp. publisher's advertisements at end, contemporary panelled calf, rebacked to match with red morocco spine label, 8vo, J. Senex, and W. Taylor, 1721Footnotes:FIRST EDITION IN ENGLISH of Leonardo da Vinci's Trattato della pittura, compiled from manuscripts written during his lifetime, but first published in Italian in 1651. In these Leonardo outlined his influential theories regarding anatomical drawing, perspective, and other elements of artistic composition. Provenance: J. Hilton, early ownership inscription.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 209
MAXWELL (JAMES CLERK)A Treatise on Electricity and Magnetism, 2 vol., second edition, DIRK TER HAAR'S COPY, WITH EXTENSIVE ANNOTATIONS THROUGHOUT, written in Dutch, in pencil, including some diagrams and illustrations, mostly in margins, 20 plates, 32-page publisher's catalogue (dated October 1884) at end of volume 2, spine ends repaired [cf. PMM 355; Norman 1466, first edition of 1873], Oxford, Clarendon Press, 1881--WATSON (H.W.) AND S.H. BURBURY. The Mathematical Theory of Electricity and Magnetism, 2 vol., FIRST EDITION, bookplate and stamps of Haberdashers' Aske's Hampstead School Science Library, 1885, publisher's green cloth gilt, rubbed, Oxford, Clarendon Press--VOLTA (ALESSANDRO) Collezione dell'opere, 3 vol. in 5, 7 folding engraved plates, lacks portrait frontispiece, contemporary grey boards, printed spine labels (later blue ink note one label and spine), rubbed, Florence, 1816, 8vo (9)Footnotes:An extensively annotated copy of 'Maxwell's major work, which demonstrated the importance of electricity to physics as a whole' (Norman), from the library of the Dutch physicist Dirk ter Haar (1919-2002).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 21
MINIATURE BOOKSGALILEI (GALILEO) Galileo a Madame Cristina di Lorena (1615), wood-engraved portrait of Galileo, printed in 'fly's eye' type, original vellum gilt, covers decorative, 'Galileo' in gilt on spine, marbled endpapers, metal gilt slipcase [Bondy pp.95-96; Spielmann 161], 19 x 13mm., Padua, Salmin, 1896 [colophon 1897]Footnotes:'For many years this tiny book which is only half the size of an ordinary postage stamp was considered the smallest printed from movable type' (Bondy). It was printed in a miniscule fly's eye ('Occhio di mosca') type. The text is the Novantiqua, the famous letter sent by Galileo to his friend and patron Madama Cristina of Lorena.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 213
PARKINSON (JOHN)Theatrum botanicum: the Theater of Plants. Or, an Herball of a Large Extent, FIRST EDITION, additional engraved allegorical title by Marshall incorporating portrait of the author, approximately 2600 woodcut illustrations, errata leaf, without initial blank, contemporary speckled calf, rebacked [ESTC S121875; Henrey 286; Hunt 235; Nissen BBI 1490; Pritzel 7749], folio (350 x 220mm.), Thomas Cotes, 1640Footnotes:A large, clean and crisp copy of Parkinson's Theatrum Botanicum, with some 2700 woodcut illustrations describing over 3,800 plants.Provenance: Richard Isted (1605-1654) of Framfield and Lewes, contemporary purchase inscription on title and a handful of marginalia; Magnus Byne, also of Sussex, contemporary inscription 'ex dono consanguinei et amici mei'; Ambrose Isted (1717-1781) of Ecton Hall, Northamptonshire, bookplate on verso of title; by descent to Major-General Fredrick Edward Sotheby; his Ecton Hall Library sale, Sotheby's, 21 November 1955, lot 357, sold to Hammond for £19.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 218
BEATON (CECIL) - ELIZABETH IIFine portrait photograph of Princess Elizabeth, seated facing forwards in the official uniform of the Colonel of the Grenadier Guards, SIGNED BY BOTH THE PHOTOGRAPHER ('Cecil Beaton' in pencil) AND SITTER ('Elizabeth/Colonel 1942' in ink), on mount beneath the image, gelatin silver print, mounted on card, image 228 x 180mm., [1942]Footnotes:Striking portrait of the future Queen Elizabeth II, signed by both Elizabeth and Cecil Beaton. Following the death in January 1942 of the Duke of Connaught, Princess Elizabeth was appointed on 24 February to succeed him as the Colonel of the Grenadier Guards. Officers of the regiment presented her with a diamond brooch in the form of the regimental badge, worn in this portrait. 'The brooch was presented on 20 April 1942 at the Princess's first official audience, and the following day - on her sixteenth birthday - an inspection of the Grenadier Guards was the Princess's first official public engagement' (Royal Collection Trust website). This sitting was the first time that Elizabeth was photographed by Beaton, who was over the next three decades to be invited to photograph the Queen on many significant occasions, including the time of her Coronation.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 225
CHURCHILL (WINSTON. S)Arms and the Covenant. Speeches... Compiled by Randolph S. Churchill, FIRST EDITION, SIGNED AND DATED BY CHURCHILL 'Inscribed by Winston S. Churchill, June 1938' with Randolph Churchill's signature beneath on front free endpaper, frontispiece portrait, publisher's blue cloth, dust-jacket (clipped and worn with some losses) [Woods A44(a)], 8vo, George S. Harrap, [1938]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 249
KIPLING (RUDYARD)Portrait photograph, by Elliot & Fry, SIGNED BY KIPLING, gelatin silver print, neatly mounted on card, signed by the sitter ('Rudyard Kipling'), and the photographers ('Elliott & Fry') on mount beneath image, framed and glazed, image 190 x 140mm., [1924]Footnotes:A half-length portrait of the author, seated at a table with his head resting on one hand and holding a cigar in the other, staring straight at the viewer.Provenance: Roy Davids; his sale, Bonhams, 10 April 2013, lot 257.For further information on this lot please visit Bonhams.com
Los 251
LAWRENCE (T.E.)Three autograph letters signed ('T E Lawrence') to Lieutenant Colonel Sir Henry McMahon, regarding the commission of a portrait for inclusion in Seven Pillars of Wisdom, comprising: (i) Autograph letter signed ('T.E. Lawrence'), mentioning he '...wrote a yarn of the Arabian effort – in no sense a history, but a personal narrative. You figured in it, just a little, at the opening...', and is '...collecting illustrations for its eventual publication (no present intention that way, though sometimes I'm tempted to publish part of it)...', asking McMahon if he would sit for a portrait and suggesting '...a powerful young artist called Roberts. He's very young, very callow: like a hollow oyster: but draws wonderfully. He was a Cubist...', and apologising for the odd request ('...It's rather like head-hunting, & a thousand times worse than autographing: but I've made the same request to several other of my victims, & have got callous over it...'), and for his handwriting ('...I'm in a boy's camp, writing on a crazy bed!...'), 2 pages, 8vo (174 x 113mm.), 14 Barton St., S.W.1, 25 August [19]22(ii)Autograph letter signed ('T.E. Lawrence'), writing after the sitting to ask McMahon's opinion of the picture ('...The first writing to one newly drawn is like going to congratulate an oriental, when you don't know if it was a boy or a girl... It's very severe & structured, wickedly like you, wickedly unlike: technically of course nearly a great piece of work. Lady McMahon, if she saw it, is no doubt furious: yourself I expect are mildly amused: & your critical self is probably pleased. He's a very uncommon youth, that little oyster-artist, & will make a name for himself...'), and comments on Roberts' portrait of Robin Buxton ('...An astonishing thing, more modelled than yours, but less individual...'), 1 page, 4to (220 x 177mm.), [no place], 17 October [19]22(iii)Autograph letter signed ('T.E. Lawrence'), arranging to meet, 1 page, on Colonial Office embossed headed paper, 8vo (188 x 115mm.), Colonial Office, 3 March [19]22Footnotes:'I WROTE A YARN OF THE ARABIAN EFFORT – IN NO SENSE A HISTORY, BUT A PERSONAL NARRATIVE': LAWRENCE COMMISSIONS THE PORTRAITS FOR SEVEN PILLARS.To illustrate his 'yarn of the Arabian effort', Lawrence commissioned the 'uncommon youth, that little oyster-artist' Slade-trained William Roberts, a self-described 'English Cubist' who had spent the war as firstly a gunner at the front and latterly as an official war artist. He was also to undertake an oil painting of Lawrence wearing his RAF uniform, the sittings taking place 'in a room I was using at Coleherne Terrace, Earl's Court' (Roberts' memoir Early Years).Roberts was a very suitable choice. The powerful personalities Lawrence depicts in his book demanded a powerful artistic style such as Roberts could offer, and Lawrence described McMahon's portrait as 'absolutely splendid: the strength of it, and the life: it feels as though at any moment there might be a crash in the paper and the thing start out' (21 October 1922) (quoted in www.englishcubist.co.uk/mcmahon). What McMahon thought of it is not known, neither seemingly is the current whereabouts of the original, but Lawrence notes with wry humour that McMahon's wife would be less than impressed with the depiction. The portrait was exhibited at the Leicester Galleries in 1927 as item 1 in a selling exhibition of illustrations from the book. In the preface to the exhibition catalogue, Bernard Shaw explains how Lawrence '...made up his mind to lose money... He set able painters to work to make portraits... and imaginative draughtsmen... He had paper specially made, and directed the printing himself in the manner of Morris or Caxton...' and urges people to purchase the pictures for 'extravagant sums' to benefit a Trust set up to firstly cover the costs of publication and thereafter benefit 'a fund for the relief of the Belisariuses of the Air Force. Not one farthing of the price of Arabia's independence and her timely aid to England will ever go into the pockets of the Prince of Damascus...' (Catalogue of an Exhibition of Paintings, Pastels, Drawings and Woodcuts illustrating Col. T.E. Lawrence's book 'Seven Pillars of Wisdom', The Leicester Galleries, 5 to 21 February 1927).Sir Henry McMahon, first high commissioner for Egypt, is perhaps best known for the McMahon-Hussein correspondence, a secret correspondence with the sharif of Mecca on behalf of the British government encouraging an Arab uprising against the sultan-caliph. He is described by Sir Ronald Storrs (his papers sold in these rooms 26 June 2019, lot 223) as ''slight, fair very young for 52, quiet, friendly, agreeable, considerate and cautious'' but quite out of his depth, lacking 'any knowledge of Arabic... forced to deal with a complex political situation... In return for an Arab rebellion McMahon loosely promised independence in certain areas of the Middle East, but he failed precisely to stipulate which parts... The extreme vagueness of the often confused and ambiguous correspondence between McMahon and Hussein... caused almost immediate controversy between the Arabs and the British empire over its differing interpretations, especially about whether it included Palestine...' (T.R. Moreman, ODNB), thus sowing the seeds of discord for years to come. In Seven Pillars, however, Lawrence praised McMahon's 'shrewd insight and tried, experienced mind' and his success in having 'achieved our foundation stone, the understanding with the Sherif of Mecca', writing that McMahon was kept in the dark about the British government's real intentions and was not to blame. Lawrence's guilt over his own part in what he saw as a British and French betrayal of the Arabs was to haunt him for the rest of his life. This correspondence is unpublished and has remained in the McMahon family until now.For further information on this lot please visit Bonhams.com
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LAWRENCE (T.E.)Portrait by Eric Kennington, collotype reproduction, NUMBER 11 OF 100 COPIES SIGNED BY THE ARTIST on the printed title label, mounted, framed and glazed, image 460 x 370mm., Oxford University Press, [1935]Footnotes:The striking 'Ghost portrait' of T.E. Lawrence by Kennington, illustrator and art editor of Seven Pillars, originally drawn in about 1920. Ronald Storrs described how he remembered that Kennington 'put the drawing-board on the floor, and two or three sheets of paper on the surface of the drawing and walked on it for a minute. This, he found, greatly improved it, and gave him two portraits, the second faint and in reverse. Number 2 was unexpected and revealed something not in the original. He put it away and forgot it for fourteen years... After Lawrence's death, Kennington was impressed both by its spiritual vitality and by the chance stigmata-like wounds on the forehead.'. The original now resides at All Souls College, Oxford.Provenance: Sir Ronald Storrs (1881-1955), described by Lawrence in Seven Pillars as 'the first, and the great man among us', manuscript note in Storrs' hand 'Left to Lucy Morton R.S. 257152'.For further information on this lot please visit Bonhams.com
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