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Preisdatenbank abonnierenPablo Picasso (1881 - 1973), a printers proof copy, signed Picasso, front has proof copy stamp, print number and signature, no XIV 'Portrait de Femme' top in pencil, stamped Gallery de la Tour and signed pencil at bottom, reverse has reference number, the name of print 'Portrait de Femme - 1930 and the stamp of the Gallery Pont St Germain, Paris. H.30 W.19cm
Sam Ringer (Polish/French, 1918-1986)Portrait 2, dessin préparatoire (deux oeuvres) signé 'Sam Ringer' et daté '1958' sur la partie laitonsculpture en laiton montée sur panneau feutrésigned 'Sam Ringer' and dated '1958' on the laiton partbrass on felt laid on wood39 x 26cm (15 3/8 x 10 1/4in).Footnotes:ProvenanceFamille de l'artisteThis 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
Sam Ringer (Polish/French, 1918-1986)Portrait 1 signé 'Sam Ringer' et daté '1958' sur la partie en laitonsculpture en laiton montée sur panneau feutrésigned 'Sam Ringer' and dated '1958' on the laiton partbrass on felt laid on wood39 x 26cm (15 3/8 x 10 1/4in).Footnotes:ProvenanceFamille de l'artisteThis 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
Sir George Clausen, RA, RWS (British, 1852-1944)Portrait of a Young Woman, thought to represent Lily Pitman signed 'G.CLAUSEN' (lower right)oil on canvas76.2 x 63.5cm (30 x 25in).Footnotes:ProvenanceMr & Mrs John Downing, Cropthorne, Worcestershire.To George Arthur Latham, 1942.By descent to the present owner.Private collection, UK.Although undocumented in the artist's accounts, the early lineage of the present portrait places it in the collection of Mr & Mrs John and Lily Downing. Lily Downing, née Pitman, was the cousin of Agnes Mary Clausen, the artist's wife. Born in 1866, she is likely to have been around thirty when the portrait was painted and this, on technical grounds, supported by the style of the signature, the dress and hair style, would suggest that the present canvas must date c. 1895-1900, with every likelihood that Lily is the model. It comes from a point in Clausen's career when, although interested in head studies of local fieldworkers in and around Widdington, the Essex village where he lived, he was not receiving portrait commissions1. The search for conclusive documentary evidence on the identity of the sitter continues2One other portrait is relevant in this regard – that of Margaret Hilton Smith aged 15 (Bristol Museum and Art Gallery), the daughter of Clausen's doctor at Widdington, W. A. Smith. Miss Smith's was a portrait in which the painter bows to convention3. While the children who surrounded him wore work-a-day clothes, this girl, clad in white with a blue satin cummerbund, could aspire to a place in society - and one 'on the line' at the Royal Academy. Although newly elected an Academy Associate, Clausen did not believe that this was his forte. He could never aspire to the 'aesthetic' and oriental accoutrements that accompany the young woman in James Jebusa Shannon's Reverie, 1898 (Walker Art Gallery, Liverpool), for instance, and even though his sitter in the present portrait, wears a similar dress trimmed at the neck with a white fichu, she requires no such props to support her personality. At once more intimiste than Miss Smith and with none of the pretentions of Shannon, the present portrait nevertheless possesses considerable appeal. Unfinished in places, perhaps, its immediacy draws the spectator. A 'lick' of Hookers green in the right cuff draws the eye to the subtle modelling of the face. Elsewhere we note an arm barely indicated, and a hand unresolved, but both so spontaneous that they carry the sense of a living presence - and while we struggle to confirm her name, Clausen's young woman retains her air of mystery. Whistler criticised his Academy contemporaries for wishing to make their sitters 'stand out' from their frames – when in fact the portrait's subject 'should stand within (his emphasis) the frame and at a depth behind it equal to the distance at which the painter sees his model'4. This reticent and unassuming young woman who sits for the painter exercises considerable power from 'within the frame'. 1For obvious reasons a successful portrait painter in the 1890s required a London or Edinburgh address. 2The subject of ongoing research, an extensive survey of Clausen's records, including drawings collections in Bath, Bristol, Plymouth, the Royal Academy and family collections has so far failed to find conclusive evidence confirming the proposed identity of the sitter, which relies on the picture's provenance. The present owner has however, established that his great grandfather, George Arthur Latham, purchased the picture along with the School House at Cropthorne at Worcestershire in 1942 from John Downing. If Agnes Mary Clausen's cousin was not a regular visitor to the Clausen home in Essex it may also explain the lack of resolution in some parts of the composition.3A second, and most unusual oval portrait of Miss Smith, of the same date as that in Bristol, is in the Laing Art Gallery, Newcastle Upon Tyne. 4'Mr Whistler: Proposition No 2 Academie Carmen', quoted from A Catalogue of the Pictures, Drawings, Prints and Sculpture at the Third Exhibition of the International Society of Sculptors, Painters and Gravers, pp. 11-12. We are grateful to Kenneth McConkey for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Sir James Jebusa Shannon, RA, RBA, RHA (British, 1862-1923)Portrait of Lady Gundrede O'Brien (nee de Trafford of Trafford Park) signed and dated 'J. J. Shannon/1892' (upper left)oil on canvas122.5 x 97.2cm (48 1/4 x 38 1/4in).Footnotes:ProvenanceThe sitter. By descent.The estate of Timothy James Price, the sitter's great-grandson.Private collection, UK (acquired from the above).ExhibitedLondon, Royal Academy, 1893, no. 570.Literature'Royal Academy', Athenaeum no. 3418, April 29, 1893, p. 546.'Fine Arts. The Royal Academy. (Fourth Notice. The Portraits)', Athenaeum no. 3423, June 3, 1893, pp.704-5.The County Gentleman (Sporting Gazette), April 29, 1893, p. 528 (in which the writer mistakenly attributes the portrait to another artist).'How Things Are Done . . . A Comic Guide to the Royal Academy', Sunday Times, April 30, 1893, p. 8.'Royal Academy of Arts Exhibition', Surrey Mirror May 13, 1893, p. 3.'The Royal Academy', Leeds Mercury, May 16, 1893, p. 8.'The Royal Academy. (Third Notice.)', North British Daily Mail, June 20, 1893, p. 2.The American-born portrait specialist James Jebusa Shannon was well on his way to a lucrative international career when this portrait of Mrs. T. Carew O'Brien was shown at the London Royal Academy's annual summer exhibition in 1893. As one writer put it, 'Among the younger portraitists Mr. J. J. Shannon is first favourite. . . . All his canvases represent people more or less well known in fashionable London society, and as usual Mr. Shannon is happiest in his depicture [sic] of ladies.' ('Round the Studios in London', The Glasgow Herald, April 3, 1893, p. 7). Shannon not only possessed artistic talent; he also had an outgoing, magnetic personality, a characteristic that was usually deemed essential for the success of portrait specialists who often found it necessary to entertain their subjects while they posed. Then, too, Shannon's currency on the portrait market was further enhanced by his 1892 acquisition of an imposing property in London's Holland Park Road (next door to the Royal Academy's estimable president, Lord Leighton), which served as his home and studio until his death in 1923.It is likely that the present portrait was one of the first Shannon executed in his Holland Park Road studio and it is just as likely that the sitter's social status is indicative of the painter's rising celebrity. Born in Barton upon Irwell, Lancashire, Gundrede Annette Teresa de Trafford was the second daughter of the wealthy Sir Humphrey de Trafford, 2nd Baronet of Trafford Park – a massive ancestral property that was sold in 1896 and later developed into the largest planned industrial estate in the world. Gundrede de Trafford married the famed 'gentleman' cricketer and heir presumptive of Sir Patrick O'Brien, Timothy Carew O'Brien (1861-1948) on September 22, 1885, thus joining two notable Roman Catholic families. In that regard, it is possible that Shannon gained the commission for the present portrait partly because of his own Irish (albeit lapsed) Catholic heritage. With a writer for the Athenaeum declaring the portrait 'one of Mr. Shannon's best pieces of portraiture . . .an excellent piece of art, charming in the flesh colour, and a vivacious design' (Athenaeum, no. 3418), Mrs. T. Carew O'Brien was gauged the more pleasing of the two canvases by Shannon on display at the 1893 Academy exhibition. What is more, the portrait fared well in the context of other examples of his work that were on view simultaneously at the New Gallery and the Society of Portrait Painters, all of which received considerable and largely positive critical attention. As noted by one reviewer, 'Mr. J. J. Shannon's portrait of Mrs. T. Carew O'Brien is an effective portrait of a fair, delicate-looking lady in a white gown and rose-coloured sash.' (North British Daily Mail). The image of the young mother of four (she would eventually have two sons and eight daughters) suggests a life of quiet dignity notwithstanding the apparent signs of luxury revealed by her fashionable white evening dress and bejewelled fingers. Her sober, direct gaze prompted another commentator to mention her 'air of determination' (Sunday Times) while another found her expression 'judicial' (The County Gentleman). Such impressions of a sitter's thoughtful inner existence rarely surfaced in critical discussions of society portraits of women, most of which allowed that the artists concentrated on flattering the sitter through idealization of face, fashion, and setting. Indeed, despite describing Gundrede O'Brien's pose 'a trifle stiff' and her 'expression . . .stern, if not peevish', a second review in the Athenaeum concluded that 'the flesh is painted with admirable freedom, while the colouration, although mannered, is excellent and pure.' (Athenaeum no. 3423). In the end, Mrs. T. Carew O'Brien stands as a fine example of the painterly, straightforward approach that characterized Shannon's art in the early 1890s as he established a career that ultimately took him to the heights of society portraiture in Britain.We are grateful to Barbara Dayer Gallati for preparing this catalogue entry.For further information on this lot please visit Bonhams.com
Vlaho Bukovac (Croatian, 1855-1922)Portrait of George Hepburn; Portrait of Anne Hepburn a pair, one signed and dated 'B. BUKOVAC 91' (lower left); the other signed, inscribed and dated 'B. BUKOVAC/LIVERPOOL 91' (lower left)oil on canvaseach 122.8 x 88.9cm (48 3/8 x 35in). (2)Footnotes:ProvenanceWith Charles Edwards, London.Private collection, USA (acquired from the above).Thence by descent.The young Dalmatian painter Vlaho Bukovac (1855-1922) studied and made his early career in Paris, enjoying an early triumph at the Salon in 1882 with his nude La Grande Iza (Beljanski Collection, Novi Sad). On the back of this success he was taken up by the English dealers Vicars Bros., who brought him to London, exhibited many of his largest paintings and introduced him to likely patrons. Two of these were shipbuilding engineers and businessmen from the north of England, Samson Fox of Leeds and Richard LeDoux of Liverpool. Besides buying Bukovac's works, these men were soon inviting the artist to their homes, where, Bukovac later wrote in his autobiography, they treated him as a gentleman. They commissioned further pictures from him, and introduced him to their own friends whose portraits Bukovac painted in turn. The patronage and friendship of Fox and LeDoux laid the foundation of Bukovac's lifelong love affair with England.George Hepburn (1841-1909) was evidently a business friend of LeDoux's in Liverpool. Although no direct contact between them is recorded, both were highly successful men at the heart of the city's progressive shipping circles, and both lived in the affluent suburb of West Derby, an area of mansions on the fringes of Liverpool's growing sprawl of working-class terraces. Hepburn and his wife Anne, who were both Scottish, had moved to Liverpool in 1866, where George rapidly made a formidable reputation as a naval architect, first with Robert McAndrew & Co., and then on his own account. According to the author of Liverpool's 'Legion of Honour' (1893), Hepburn since coming to Liverpool had 'designed between 300 and 400 steamers'. Such was his expertise in naval matters, he was in great demand in legal cases involving the loss of ships; the Liverpool Mercury calling him 'The Judge-Maker' because three 'eminent counsel' on whose side he had appeared in trials had been raised to the bench almost immediately afterwards. Reputedly his dour and gruff exterior concealed a heart of gold, a keen sense of humour and a penchant for generous hospitality, and he was an excellent raconteur. He was also a fine shot, although he lost an eye in a shooting accident on the Scottish moors (it is unclear whether this post-dated Bukovac's portrait or whether the artist was allowed to represent a glass eye or disguise the loss altogether; contemporary and later photographs mostly show Hepburn in profile from the left). According to one obituarist, Hepburn 'was one of the first men in Liverpool to have a motor car, and when he drove that then novel equipage through the town, Liverpudlians, agape with amazement at the spectacle of a horseless vehicle, literally mobbed his vehicle'.Little is known about his wife Anne. Her family name was Martin, she was three years older than her husband, and with him she had two daughters, Mary (born in 1872) and Lucy (born in 1878). Less than a year after sitting to Bukovac, in June 1892, she died at the age of 53. Her widower would mourn her for a decent interval, but in March 1895 he re-married the 'charming' Ada Snelson, 'daughter of a Liverpool citizen'. Is there in these contemporary words a hint that Hepburn's first wife had shared his 'Scottish' dourness, but not the more genial qualities to be associated with their domicile?Perhaps unexpectedly, Bukovac's portraits are documented. Hepburn wrote a friendly letter to the artist on 18 August 1891 (now in the archive of Bukovac House, Cavtat, Croatia) in which he writes of the 'high quality' of the two works, evidently recently finished. Later Bukovac recalled of his stay in Liverpool during that summer with Mr and Mrs LeDoux that he had been so showered with hospitality he had managed to do very little painting. There can be no doubt, however, that LeDoux was behind these two works. It is tempting to see him, over a cigar at the club, suggesting the commission to Hepburn as a fine way to mark his fiftieth birthday that year. And from the character of the two works, their scale, their studied accuracy and their subtle insights, there is no doubt that in Bukovac's response, his artistry and professional dedication were fully engaged.We are grateful to Alex Kidson for compiling this catalogue entry.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
Arthur Hacker, RA (British, 1858-1919)Portrait of Imelda Wendy Whitworth signed and dated 'ArthurHacker/1914' (lower left); further signed, inscribed and dated ''Wendy' daughter of Harry Whitworth Esq/by Arthur Hacker R.A./1914' (on the reverse)oil on canvas127 x 101.6cm (50 x 40in).Footnotes:ProvenanceThe family of the sitter, by descent. Born on June 27, 1908, Wendy was six when she sat for the portrait at around the time of the outbreak of the Great War. Her father, Harry (1870-1930), of the family brewers Whitworth, Son & Nephew, of Wath-upon-Dearne, and mother Cicely, leased part of historic Nidd Hall near Knaresborough - home of the celebrated Mountgarret family - for a few years before the war before making a permanent move to Kilnwick Percy Hall, near Pocklington. Harry was involved with the York and Ainsty Hunt and owned racehorses, including the winner of the Ebor Handicap at York in 1922 with Iron Hand. Wendy married her second cousin, Major Noel Lupton Whitworth (1902-1969), son of barrister Charles Warwick Whitworth and Alice Marion (nee Lupton), in 1931 and by 1934 they were living at The Grange, Staveley. Charles and Alice Whitworth later moved to The Red House, Bishop Monkton, Harrogate. This portrait dates from the latter period of Hacker's career, a time when he was focusing increasingly on portrait commissions, earned on the back of the popularity of his varied work of the late nineteenth century. Hacker entered the Royal Academy Schools in 1876 and graduated in 1880 after which he trained at the atelier of Léon Bonnat in Paris. He first exhibited at the Royal Academy in 1878 at the age of twenty, and would continue to do so until 1904. Paintings such as Pelagia and Philammon (Walker Art Gallery) and The Temptation of Sir Percival (Leeds Art Gallery), secured his reputation and ensured a continued career as a portrait painter when the desire for such subjects began to wane in the early twentieth century.For further information on this lot please visit Bonhams.com
William Clarke Wontner (British, 1857-1930)Portrait of a young woman in Eastern costume signed 'W.Wontner' (lower left)oil on canvas, circular62.5 x 62.5cm (24 5/8 x 24 5/8in).Footnotes:ProvenancePrivate collection, UK.The model in the present lot was most probably Wontner's wife, Jessie Marguerite née Keene (1871-1950), who appears in so many of his works. Both she, her mother and some of her sisters were professional models.We are grateful to Alice Munro-Faure for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Edith Hipkins (British, 1854-1945)The window seat in Townshend House, 1885 signed 'Edith Hipkins' (upper right), indistinctly inscribed on reverseoil on panel81.5 x 18.5cm (32 1/16 x 7 5/16in).Footnotes:ProvenanceSale including the contents of 17 Grove End Road, Hampton & Sons, London, 11 June 1913.With The Fine Art Society, London.The Irish News Collection (acquired from the above.)IllustratedElizabeth Prettejohn & Peter Trippi, Lawrence Alma-Tadema, At Home in Antiquity, London, 2017, no. 98, p. 85.LiteratureRudolph de Cordova, 'The panels in Sir Lawrence Alma-Tadema's Hall', The Strand Magazine, Vol. XXIV, 1902, pp. 615-630, ill. p.621.Edith Hipkins was the daughter of the musician and musicologist, Alfred James Hipkins. The Hipkins family were part of a social set that included painters, writers and musicians and were particularly close to the Tadema family. Her work was much admired (Burne-Jones offered to mentor her) and she was a proficient portrait painter who exhibited several times at The Royal Academy. Her portrait of her father is in the permanent collection of the National Portrait Gallery and is referred to in correspondence between Alfred Parsons and Alfred Hipkins: 'At the Royal Academy today, I saw an excellent likeness of you by Miss Hipkins.'1. Both Edith and her father acted as models for Tadema, and The Royal College of Music also hold several large albums in their collection which include sketches, anecdotes and letters that shed an interesting light on the social circle in which she moved. The current lots shows the hallway at Townshend House with some of the remaining pieces Tadema's extensive collection of blue and white porcelain that had survived the blast of 1874. 1Edith Hipkins, Collection of British Artists' Letters, University of California, Riverside.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Alexei Alexeevich Harlamoff (Russian, 1840-1925)Portrait of a girl in a black lace shawl signed 'Harlamoff' (lower right)oil on canvas 62 x 47cm (24 7/16 x 18 1/2in).Footnotes:ProvenanceProbably Jennie, Princess Chirinsky-Chikhmatoff (1885-1971, née Butchart and owner of The Butchart Gardens, Victoria, Canada).Thence by descent to her son, Ian Ross and the Ross Estate, Victoria, Canada.The above's sale.To be included in the digital addendum to the catalogue raisonné of the works of Alexei Harlamoff by Eckart Lingenauber and Olga Sugrobova-Roth, https://www.harlamoff.org/Seite_addendum.html.For further information on this lot please visit Bonhams.com
Dante Gabriel Rossetti (British, 1828-1882)Study for the portrait of Maria Leathart signed with monogram (lower right); bears inscriptions 'D.G. Rossetti (lower right) and 'No.5' (upper right)pencil33 x 27.6cm (13 x 10 7/8in).Executed in 1862.Footnotes:ProvenanceWilliam Bell Scott.Margaret Rae, née Leathart.By descent to her son, Charles Edward Leathart Rae.To his widow, Kathleen Muriel Rae, later Mrs Robert Catto.Thence by descent.ExhibitedLondon, Burlington Fine Arts Club, Pictures, Designs and Studies by the late Dante Gabriel Rossetti, 1883, no. 138 (lent by W.B. Scott).Newcastle upon Tyne, Laing Art Gallery, Paintings from the Leathart Collection, 1968, no. 63 (lent by Mrs R. Catto).LiteratureH.C. Marillier, Dante Gabriel Rossetti, Illustrated Memorial of his Art and Life, London, 1899 no. 355.Virginia Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882), Oxford, 1971, vol. I, no. 334B, p. 171.James Leathart, the Newcastle upon Tyne industrialist, had first expressed a wish that Rossetti should paint a portrait of his wife Maria in the autumn of 1862. At that time Rossetti had recently installed himself at 16 Cheyne Walk in Chelsea, and it seems that the first intention had been that Maria Leathart should sit to him there. However, following the usual postponements and prevarications on Rossetti's part, a plan was made that the artist should travel to Newcastle to work on the portrait at the Leathart family home, 14 Framlington Place, and which he did at the end of the first week of December. Rossetti stayed with William Bell Scott, the fellow artist who had first brought Leathart and Rossetti into contact and who lived at 18 St Thomas's Crescent. Rossetti remained in the north for three weeks, returning to London on the 31 December. Rossetti made a number of portrait sketches of Maria, at least one showing her in profile as well as the present study in which she is seen in three-quarters profile facing to the right. At the same time, he embarked on two broadly similar portraits in oil of her: one in which she was shown with her hands resting on the spine of a book, and the second based upon the present drawing showing her with her hair in an elaborate chignon at the back of her head, and showing her dressed in preparation to go out (see figure 1). Very careful attention was given to the treatment of her hands, which are shown resting on the back of a chair. Rossetti took both versions and the preparatory drawings with him when he returned to London, with the oils to be worked on further in the studio at Cheyne Walk. However, early in the New Year of 1863, the artist despaired of getting a good likeness in the first version and decided to concentrate on that in which Maria's hands rest on the chair, depending we assume on the present drawing to capture the particular likeness of the model and her pose, as well as the details of her dress. While still working on the painting Rossetti wrote encouraging letters to Leathart reassuring him that the consensus view among his circle of friends in London was that he had been successful in capturing the likeness of his absent sitter. Making portraits in oil for clients did not come readily to Rossetti and he was habitually nervous of the response that patrons might make to the works they had commissioned. The finished portrait was with Leathart in Newcastle by the 21 January and seems generally to have been enthusiastically received although with certain reservations, with William Michael Rossetti – the artist's brother – responding to William Bell Scott's account of responses to it by saying: '[Rossetti] infer[s] from your phrase that it is voted rather a good picture than a good likeness'. This finished oil has remained in the collections of the Leathart-Rae family.Perhaps recognising that the preparatory drawings were truer to life than the oil, Rossetti announced that he intended to give the two related sketches, of which the present was the second, to Leathart, in some degree as a compensation for any criticisms that may have been levelled against the finished oil. In a letter of 19 January Rossetti explained that he was sending these 'either both for yourself, or one for Scott as you please'. Leathart did in fact pass the present drawing on to William Bell Scott, and so it remained in his possession until at least 1883 when he lent it to the Burlington Fine Arts Club Rossetti Memorial exhibition, and which he eventually returned to the Leathart family by giving or leaving it to James and Maria Leathart's daughter Margaret. Maria had married James Leathart – twenty years her senior – when she was eighteen in 1858, and was therefore twenty-two years old at the time that Rossetti drew and painted her portrait. She was the daughter of a successful soap manufacturer and onetime mayor of Newcastle, Thomas Hedley. Her marriage to Leathart, who himself had gained considerable prosperity from his employment as manager of the St Anthony's leadworks of the company Locke, Blackett & Co, was therefore a dynastic match of two members of the Novocastrian mercantile middle classes. In 1864 the Leathart family moved to Low Fell in Gateshead, where they lived in a fine house called Bracken Dene, and where they brought up their large family and where was displayed the extraordinary collection of Pre-Raphaelite paintings which James Leathart formed, notable among which were works by Ford Madox Brown, John Everett Millais, Edward Burne-Jones and Rossetti himself.We are grateful to Christopher Newall for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Sir John Everett Millais, PRA (British, 1829-1896)Forget-Me-Not signed with monogram and dated '1883' (lower left)oil on canvas84 x 63.5cm (33 1/16 x 25in).Footnotes:ProvenanceThe artist and his wife, Effie, Lady Millais.Her bequest (will of 26 July 1897, Scottish Probate Office) to their son John Guille Millais.Sold by John Guille Millais, Christie's, 26 May 1900 (lot 100), bought by Sir James Kitson, Bart. (later 1st Baron Airedale), Gledhow Hall, Leeds, 1,500 guineas.By descent to his daughter Emily Kitson.Sold from her estate, Tower Lodge, Tunbridge Wells, Kent, 28 November 1961, bought by her first cousin once removed Grosvenor Talbot Griffith, Old Swindon House, Swindon Village, Cheltenham, Gloucestershire.Bequeathed to the present owners.Private collection, UK.Exhibited London, Royal Academy, 1883, no. 323.Dublin, Royal Hibernian Academy, 1884, no. 51.London, Royal Academy, Works by the late Sir John Everett Millais, Bart., President of the Royal Academy, 1898, no. 121.Kitakyushu, Municipal Museum of Art & Tokyo, Bunkamura Museum of Art, Millais, (exhibition organized by Tate, London), 2008, no. 55.LiteratureAthenaeum, 5 May 1883, p. 575.Morning Post, 5 May 1883, p. 5.Times, 5 May 1883, p. 12.Illustrated London News, 5 May 1883, p. 438.Illustrated London News, 12 May 1883, p. 470.London Evening Standard, 24 May 1883, p. 2.Graphic, 26 May 1883, p. 20.The Age, (Melbourne, Australia), supplement, 23 June 1883, p. 2.Art Journal, July 1883, p. 218.Art Journal, August 1883, p. 254.Beatrix Potter, journal entry, 11 November 1883, The Journal of Beatrix Potter 1881–1897, transcribed from her code writings by Leslie Linder, 1989, p. 56.Magazine of Art, volume VII, April 1884, p. xxviii.Marion Harry Spielmann, Millais and His Works. With special reference to the exhibition at the Royal Academy 1898 . . . with a Chapter 'Thoughts on Our Art of To-Day' by Sir J. E. Millais, Bart., PRA, Edinburgh and London, 1898, pp. 122 & 176 ('List of Oil Paintings', no. 252.).John Guille Millais, The Life and Letters of Sir John Everett Millais, President of the Royal Academy, 1899, volume II, pp. 236 (reproduced) & 482 ('Chronological List of Millais' Work').When Forget-Me-Not was first exhibited, at the Royal Academy exhibition of 1883, the critic of the Athenaeum magazine called it 'a portrait in character'. It was generally recognized as a likeness of the artist's daughter Effie James (1858–1911), although her outfit and the title of the work suggested something other than a straightforward portrait; she was both being herself and playing a part, both sitter and model. Her summer dress with matching sash and ribbons was closer to fancy dress than real-life clothing of the time, and the style vaguely eighteenth-century. This was what the critic meant by 'a portrait in character'. Millais presents his daughter as a Victorian young woman with a touch of the aristocratic lady of a bygone age. She sits against a park or garden background with little definition to anything beyond some sprigs of honeysuckle, hinting at a love of nature on Effie's part but with little to distract from her figure. The general presentation, like the costume, recalls portraits of the Georgian era. In his middle age Millais embraced conventions and traditions of British painting which he had reviled as a young Pre-Raphaelite. A pioneer of the 'eighteenth century revival' in Victorian art and design, he painted loosely-brushed recollections of British masters of the past, Joshua Reynolds, Thomas Gainsborough, and George Romney—alluding to their works as they, in turn, had alluded to the works of their revered predecessor Anthony van Dyck. Gainsborough held a special appeal since he too had been a fond father who loved to paint his daughters. It is difficult to say whether Forget-Me-Not was begun primarily as a portrait or as a so-called 'fancy picture'—that is, whether it was private and intended for the family, or commercial and intended to be sold. Millais may have kept both possibilities open as he painted and exhibited the work, although as a young-woman subject it would not have been quite as immediately saleable as his nostalgic paintings of children. On balance it was likely painted more with family purposes in mind; the family certainly kept it, at least until the artist and his wife had died. It may even have had a private meaning for them. The forget-me-nots that Effie has been picking gently suggest what she might be thinking—'forget me not'—as a daughter who has left home; she was now twenty-four years old, married, and the mother of two little boys. Writing for the Art Journal, one critic thought Effie was in a state of yearning, with 'a soft, pleading expression in her wistful eyes'. One can imagine her father coming up with the 'forget me not' conceit as both an expression of paternal affection (he would hope she cared to be remembered) and, given his love of humour, a chance for quips and raillery. He would later use the title The Last Rose of Summer for the portrait of another daughter, Mary; she was his 'last rose of summer' as the one who never married and stayed in the family home, helping him in his work and public duties until the end. Alongside Forget-Me-Not, Millais began another painting of Effie on a canvas the same size, in more or less the same pose though wearing a different, more contemporary dress. Finished as a gift for Effie herself in 1885, it now belongs to one of her great grandchildren. Named after her mother, Effie was the artist's second child, his eldest daughter, and one of his favourite models. She appears in more of her father's works than any of her siblings; as a child she posed for the popular My First Sermon and its sequel, My Second Sermon. From the age of ten she attended a boarding school in Forest Hill, south London, with her sister Mary; when she was seventeen the girls stayed in Paris for a time to study languages and the piano. Good-looking and sociable, Effie was delighted by the round of balls, parties, and at-homes that she attended in London as a girl. On 28 November 1879 she married Captain William James, an officer in the Royal Scots Greys and son of the eminent judge Sir William Milbourne James. They had two sons, George and William ('Willie'), and two daughters, Phyllis and Sylvia. Willie was the model for Bubbles, which became famous as an advertisement for Pears' soap. Both sons pursued military careers like their father. George became an army captain and was killed in the First World War. Willie
An impressive, large, pair of mid-16th century oak Romayne-type portrait panels, Anglo-Flemish, circa 1540-60Carved in very high relief, one a male bust, the other female, probably husband and wife, and both in a broad guilloche-carved circular frame, with leaf-and-berry trefoil spandrels, the male 48.5cm wide, 49.5cm high, the female 48cm wide, 50cm high, (2)
An interesting set of four Henry VIII oak Romayne-type family portrait panels, English, probably Kent/Sussex borders, circa 1530-40Comprising a man and possibly his wife, daughter and son, the 'father' in a flat cap, with exaggerated beard, the females with plumed coif, bodice with ruffed shoulders and frilled lawn, the younger male again with plumed cap, all within a carved circular surround between banners, 26.5cm wide, 46cm highProvenance: Purchased from Alex Sloane, De Montfort Antiques, 1980sA remarkably similar set of four bust portrait panels, depicting members of the Stanley Family, Hooton Hall, Wirral, sold Bonhams, Chester, 12 May 2011, Lot 688 (£9,840)
An important, documented, Elizabeth I oak and inlaid overmantle, Gloucestershire, circa 1580Designed in three-tiers, each with triple reserve, headed by three panels carved with scaly-dragons, atop a prominent Romayne-type male bust, with beard and flat cap, within a leafy-carved circular surround, flanked by an angel mask carved arch, on figural columns, enclosing Nonsuch-style inlay, representing towers and arcades above a pair of 'swans at the watergate', all spaced by male and female terms, the lower three panels carved with framed guilloche, gadrooned-carved cushion-moulded base rail, 170cm wide, 97cm high, 29cm deepProvenance: Prinknash Abbey, Gloucestershire. Removed 1953Installed by Mary Bellis, Charnham Close, Hungerford, Berkshire, in the principal guest bedroomAfter the Dissolution of the Monasteries Prinknash Abbey was rented from the crown by Sir Anthony Kingston and used as a hunting lodge. In 1544, Henry VIII granted the Abbey to Edmund Brydges (d.1573). In 1557 Edmund succeeded his father as Lord Chandos of Sudeley, and Sudeley Castle become the families' principal residence, however, Prinknash continued to be used by the family until c.1628. During a period of remodelling at Prinknash the overmantle was probably installed by either Giles Brydges, 3rd Baron Chandos (1548-1594) or William Brydges, the 4th Baron Chandos, (1552-1602)Literature: The central panel, well-carved with a Romayne-type male bust, is illustrated in Victor Chinnery, “Oak Furniture: the British Tradition’, p.427, fig. 4:28, where the author notes ’This picturesque little portrait may be of the original owner’, namely Baron ChandosSee Lot 131 for a quantity of Elizabethan panelling also from Prinknash Abbey
ARMENIAGREGORY OF NAREK, SAINT. Girk Aghotits'Srboyn [Book of Lamentations], edited by Minas Amdetsi, text in Armenian, all pages within typographical border (that to title more elaborate), woodcut decorations in the margins, capital bird-shaped letters, large woodcut portrait of the author on p.10, large opening woodcut ornament on p.11, small old repairs touching inner border of title, horizontal tear to pp.11/12, old paper repairs to gutter margin of several leaves (mostly at beginning and end), final leaf with portion of upper page torn away with some loss to opening 3 lines recto and verso, some marginal ornaments shaved, occasional light old staining, contemporary calf over wooden boards, the sides decorated in blind to a geometrical design, old metal studs on lower cover, lacking metal clasps (and straps) on upper cover, rebacked in old leather [Voskanian 185], 4to (200 x 150mm.), [Constantinople/Istanbul, Paron Karapet, son of Astuadsatour, 1702]Footnotes:Only the second appearance in print, after the 1673 Marseille edition, of Grigor Narekatsi's 'Book of Lamentations'. The editor, Minas Amdetsi, notes on the colophon that text is based on a manuscript found in Jerusalem and compared with five others found at the Monasteries of Saghmosavank, Khor Virap and Sevan. An Armenian Christian mystic, Grigor/Gregory (c.945-1003) was Canonized in 2015.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
MOUNTAINEERINGALMER (CHRISTIAN) A Facsimile of Christian Almer's Führerbuch 1856-1894, Reproduced under the Superintendence of C.D. Cunningham and Capt. W. De W. Abney, FIRST EDITION, NUMBER 99 OF 200 COPIES, half-title, heliogravure photographic frontispiece portrait of Almer, 2 illustrations, limitation label printed in red pasted to front free endpaper, light stain at lower margin of the frontispiece, publisher's cloth, gilt morocco spine labels, g.e., rubbed with some abrasions to labels [Neate C157], 8vo, Sampson Low, 1896Footnotes:Christian Almer (1826-1898) was one of the great pioneering Alpine guides from the golden age of mountaineering, making the first ascent of the Eiger, and many other Alpine peaks. Privately printed, the Führerbuch reproduces in facsimile the manuscript recommendations of the climbers he accompanied, together with a lengthy introduction.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
PETRUS LOMBARDUSSententiarum libri IV, woodcut device on title-page, woodcut initials throughout, modern quarter vellum gilt, red edges [USTC 403431], 4to, Louvain, Bartholomaeus Gravius, 1546--MACHIAVELLI (NICOLO) Tutte le opere, 5 parts in 1 vol., late Testina edition, vignette woodcut portrait on each title, Discorsi misbound, opening 5 leaves frayed (with loss of a few letters to 3), last three leaves frayed (one repaired with substantial loss to text), damp-staining throughout, limp vellum with manuscript title on spine, spine loosening, soiled, 4to, [Geneva], 1550 [but c.1640]--GOLTZIUS (HUBERT) Vivae omnium fere Imperatorum imagines, 88 (of 133) chiaroscuro medallion woodcut portraits printed in sepia, 13 others with woodcut borders but no image, also lacking title and preliminary leaves up to A1, tears affecting image of 2 plates (LIX, LXV), offsetting, damp-staining mostly to margins, later tree calf, upper cover detached, worn [Adams G838], folio, Antwerp, in officina Aegidii Copenii Diesthemii, 1557--FLORUS (LUCIUS ANNAEUS) Rerum a Romanis gestarum libri IIII, woodcut printer's device on title, near contemporary manuscript inscriptions on first fly-leaf and on title, age-toning, later limp vellum, upper gnawed, worn [USTC 402303], 8vo, Antwerp, Jan Moretus, 1593--PINDAR. Olympia, Pythia, Nemea, Isthmia, translated by Jean Benoit, woodcut device on title, light age toning, later armorial gilt calf, sides with the arms of Louis XIV on a ground of fleur-de-lys and crowned L pattern, g.e., hinges loose, worn [USTC 6802750; Brunet IV 659], 4to, Saumur, Pierre Pié de Dieu, 1620--CICERO. Opera omnia title printed in red and black, additional engraved frontispiece (dated 1659), some damp-staining, ink stains affecting text on pp.479-482, later armorial calf gilt, the sides with the arms of Louis XIV on a ground of fleur-de-lys pattern on covers, g.e., worn, 4to, Geneva, Samuel Chouet, 1660; and 11 others (17)Footnotes:Provenance: First work, Fort Augustus Benedictine Abbey (Inverness, Scotland), bookplate; Second work, Franz Ferdinand Pontz von Engelshofen (c. 1760s), 'V. Engelshofen 2579' stamp on first title; František Antonín Thun-Hohenstein (1847-1916), bookplate; Third work, De Gabriellij, manuscript inscription on title; Fifth work, 'Bouffay 1703', ink inscription on title.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
WORLD WAR I – DIARIES & LETTERSGroup of diaries and letters, comprising: i) Manuscript journal compiled by the father of Lieutenant Frank Leonard Stevens of Mexborough, serving with the Yorks and Lancs Regiment, entitled 'Diary by his Dad', comprising a narrative of his son's progress through the war, including Passchendaele, the German offensive of March 1918 and the 'Great Push' ('...all leave cancelled...'), with extracts from Leonard's letters home ('...It was Hell!... I pray hard for courage... I discovered a tank...lying in gory glory, like a decrepit toad... a monument to British skill & British tenacity... every second is pregnant with certain disquieting possibilities... shell, trench mortar, rifle, grenade, bomb, mine, Bosche, bullet, gas or mud...'), his Christian faith, and the war at home ('...the presence of a Zeppelin... the sound and the spectacle was certainly startling to civilians...'), interspersed with photographs, documents, illustrations (including two of his dug out in the trenches), menus, press cuttings etc., c.100 leaves, black cloth, 4to (230 x 172mm.), [1916 to 1918]ii) Collection relating to Private Albert Willis of 15th Sherwood Foresters serving on the Western Front in 1918 and his brother Corporal Frederick Willis of 1/6th Essex Regiment serving with the Egyptian Expeditionary Force, comprising 15 letters from Alfred to his parents and brother, and two letters to him from his mother ('...Albert killed in action, France, Don't worry all well at home...'); with c.130 photographic portrait postcards, original family photographs, various Christmas and birthday cards and other documents; an original Red Cross linen bag with ties, printed with the red cross in red and 'With Best wishes from the British Red Cross', held in three custom-made albums, modern cloth, each 300 x 225mm., March to December 1918iii) Manuscript reminiscences of Captain Wilfred Oates Rushton of the 18th Battalion Lancashire Fusiliers, beginning 28 January 1916 on Salisbury Plain, going on to describe life on the front line ('...a Melton Mowbray pie... saved the situation...'), marching to the Somme ('...The road was strewn with dead horses in varying stages of decomposition... a long line of dead men, blank of face... killed the moment they had got out of the trench to attack...There was a particularly repulsive Boche lying dead within about 2 yards of the place we congregated for our food...'), and much other detail, 106 pages, written in a lined exercise book, black cloth, 4to (223 x 175mm.), [1916 onwards]Footnotes:All the young men represented here survived the war, and their writings and photographs reveal a sometimes harrowing picture of life as an ordinary soldier on the Western Front and the concerns of parents left behind. Journalist Frank Stevens married Winifred Bruce in Edinburgh on 9 April 1925. He was the third generation of his family to go into the profession, his father having been on the staff of the Mexborough and Swinton Times. The family of Albert Willis had been informed that he had been killed in action – '...It makes it far worse for us that he went under so near the finish...' his mother writes, but his brother later received news that he was in fact a Prisoner of War. Albert here describes his capture and return home - '...they had been mourning me as dead for about four weeks! They even said how I had been killed instantaneously...'. Wilfred Oates Rushton was the son of Oates Rushton (1849-1929) who had set up a successful grocery and drapery business in Wigan. After the war he became a partner in a Liverpool law firm. His great nephew was comedian and writer, Willie Rushton.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
ROCHESTER (JOHN WILMOT, Earl of)Poems, (&c.) on Several Occasions: with Valentinian; a Tragedy, title within 2-line border, old ink ownership name struck through on title, occasional light damp stains and browning, late nineteenth century half maroon morocco, rubbed [ESTC R35149], Jacob Tonson, 1696--BURNET (GILBERT) Some Passages of the Life and Death of the Right Honourable John, Earl of Rochester Who Died the 26th of July, 1680, FIRST EDITION, issue with errata on leaf A8v, engraved frontispiece portrait of Rochester by J. White, title within 2-line border, a few marginal ink or pencil markings in two hands (one early, one later), contemporary calf, worn, small wormhole to spine [ESTC R15099], Richard Chiswell, 1680, 8vo (2)Footnotes:Provenance: First work, J. Cresswell, Bewick-style bookplate. Second work, Thomas Fairfax, early inscription ('E. Libris Tho: Fairfax') on title; Lionell Copley, armorial bookplate inside upper cover; both Robert Gathorne-Hardy (1902-1973, writer and bibliophile), bookplate in first work; Jonathan Gathorne-Hardy (1933-2019, writer), ownership inscription dated 1980 in both works; by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
CHURCHILL (WINSTON)Menu signed ('Winston S. Churchill' and 'Clementine S. Churchill') for a celebration dinner in honour of Churchill's 80th birthday, given by the Woodford Division Conservative Association, 230 x 152mm., Manor Hall, Chigwell, Tuesday 23 November 1954; with accompanying typed letter signed from Churchill's personal private secretary ('L.M. Shillingford') to John Redfern returning the menu duly signed and sending their '...best wishes for the work which you will be doing for the new Chigwell Division...', 8vo (191 x 121mm.), dented by paper clip at head, 10 Downing Street, 9 February 1955; a black and white photograph of Churchill speaking at the dinner by Gerald J. Sharp of South Woodford, 158 x 214mm., with mount 222 x 270mm.; with an invitation to the dinner, a telegram from Churchill dated December 1952 thanking Redfern for his kind message, and a letter from Woodford Conservative Association asking him to contribute to a portrait of Lady Churchill by John Napper to be presented to Churchill as a birthday present (6)Footnotes:John Redfern (1928-2018) was chairman of the Woodford constituency Young Conservatives when he attended Churchill's 80th birthday dinner, which also marked Churchill's thirty years' service as MP for Woodford. Redfern went on to become a lifelong member of the Conservative party, enjoying a close association with Winston Churchill and his wife during that time, and continuing to work tirelessly for the constituencies of Woodford and latterly Chigwell and Epping Forest until his death in 2018. The portrait of Clementine by John Napper to which the final letter refers was presented to Churchill at a meeting of his constituents in the Girls' County High School at Woodford prior to the dinner on 23 November 1954. It was deemed an excellent likeness and received a far better reception than the infamous portrait of Churchill by Graham Sutherland presented to him a week later by both Houses of Parliament. The signed menu and accompanying material have been in the possession of John Redfern's family until now.For further information on this lot please visit Bonhams.com
ARMENIANERSES OF LAMBRON, ARCHBISHOP OF TAURUS. Meknoutiwn srbots Erkodtasan Margareits [Commentary on the Twelve Prophets], one engraved portrait plate by Mkaritch Yakob, text double-column, large opening woodcut, ornaments and initials, damp-staining, gilt morocco spine label in Armenian, spine ends worn, contemporary calf gilt [not in BL or Bodleian], [Constantinople/Istanbul, Hsanpash Kahan, press of mahtesi Abraham amira Aknetsi, 1825/1826--NERSES VI, called SNORHALI. Tult'endhanrakan [General Epistles], one engraved portrait plate, lacks one leaf (pp.231/2), title torn at gutter margin, contents shaken and some loose, scattered wormholes throughout at margins, occasional damp-staining, contemporary calf gilt, old paper label on upper cover, spine worn with some loss, some scattered wormholes [Nersessian 399], Constantinople/Istanbul, Hasan Pasha Khan, 1825--SARGIS IMASTASER, called SNORHALI. Meknoutiwn eotants tghtots katoughikeayts [Commentary on the Seven Catholic Epistles], on engraved portrait plate, text double-column, woodcut ornament at head of opening chapter, blank fore-edge of opening leaves softened with some loss, damp-stain at gutter margin of opening few leaves, contemporary tree calf, worn, [Constantinople/Istanbul], Hasanpashay khan in the press of Terzeants mahtesi Abraham amiray Aknetsi, 1826-1828, text in Armenian, folio (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
BRAZILBURMEISTER (HERMANN) Landschaftliche Bilder Brasiliens und Portraits einiger Urvolker, Atlas vol. only, FIRST EDITION, 11 tinted lithographed plates after Burmeister, occasional light spotting, text supplied in facsimile, modern half morocco, oblong folio (300 x 420mm.), [Berlin, Georg Reimer, 1853]--KIDDER (D.P.) AND J.C. FLETCHER. Brazil and the Brazilians, Philadelphia, engraved portrait frontispiece, 2 maps (1 folding, detached), and 18 plates (2 hand-coloured), Childs & Peterson, 1857--AGASSIZ (E. AND LOUIS) Voyage au Bresil, translated by Felix Vogeli, 5 plates and maps (one folding), Paris, L. Hachette, 1869--BIARD (FRANCOIS) Deux annees au Bresil, numerous woodcut illustrations by E. Riou after Biard, Paris, L. Hachette, 1862, contemporary morocco or quarter morocco, g.e., rubbed, 8vo (4)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
WORLD WAR I - AUSTRALIAN VICTORIA CROSSFinely presented manuscript testimonial of gratitude given to Capt. William John Symons, V.C. 'from the Citizens of Brunswick... [for] fighting with your Australian Comrades throughout all those dark and terrible days and nights against tremendous odds on the Gallipoli Peninsula', made by Arnhall & Jackson of Melbourne, manuscript bi-folium, left side with an oval gelatin silver photo portrait of Symons surrounded by depictions of his Victoria Cross (recto and verso) and 'The Flags for Liberty' above the manuscript address of gratitude and printed text of the Official Despatch citing the action for which Symons was awarded the V.C., the facing page continuing the address (in black and purple ink) with printed text of John Sandes' poem 'Landing in the Dawn', and the signatures of the Mayor of Brunswick and eleven other councillors and officials, both sheets with hand-painted decorative borders featuring Golden Wattle, the Australian symbol of remembrance; also of flowers, foliage, the Union Jack and Australian flag, etc., the covers in full brown morocco elaborately decorated with brown, red, black, green, tan and white morocco inlays and gilt tooling, the upper cover with all over strap design centred on a central dedication panel ('To Capt. William J. Symons, V.C...') beneath Australian Blue and Red Ensign flags accompanied by a kangaroo and ostrich, lower cover with the 'Colours of the 60th Infantry, A.F.', red linen 'bookmark' gilt lettered 'Capt. W.J. Symons V.C. For Valour' with gilt tassels at end (detached) loosely inserted, folio (450 x 340mm.), Brunswick, 13 May 1916Footnotes:FINELY BOUND MANUSCRIPT TESTIMONIAL PRESENTED TO AUSTRALIAN VICTORIA CROSS RECIPIENT CAPTAIN WILLIAM JOHN SYMONS BY THE CITIZENS OF BRUNSWICK. 'We are proud of you, and know that you have richly earned this high distinction by your cool self-possession, courage, resource and high resolve in your hand-to-hand encounter with the Turks, who are born fighters... We shall never forget the occasion which won for you the Victoria Cross, when you and your gallant little band of Australian Heroes were sent out on what appeared to be a forlorn hope...'.Captain W.J. Symons (1889-1948) was born at Eaglehawk (where there is a memorial to him). He later lived and worked at Brunswick, Melbourne prior to serving for eight years in the militia (5th and 60th battalions). At the outbreak of the First World War he enlisted in the Australian Imperial Force, landing with his battalion at Gallipoli on 25 April. 'About 5 a.m. on 9 August the Turks made a series of determined attacks on Jacob's Trench at Lone Pine where six Australian officers were killed or severely wounded. Learning that the position had been overrun, Lieutenant-Colonel Harold 'Pompey' Elliott ordered Symons to retake the trench. 'I don't expect to see you again', he said, 'but we must not lose that post' (A. Staunton, Australian Dictionary of Biography). Symons led the counter attack at Lone Pine, Gallipoli for which, together with six of his Australians comrades, he was awarded the Victoria Cross in recognition of his 'conspicuous gallantry'.Having received his V.C. from King George V at Buckingham Palace on 4 December Symons returned to Brunswick to a heroes' welcome. This magnificently presented testimonial was presented to him at a lavish 'welcome home' banquet hosted by Lieutenant Governor Sir John Madden held in May 1916. A copy of an original photograph (retained by the vendor) of the banquet is included in the lot. His medal group is displayed at the Australian War Memorial, Canberra.Provenance: Captain W.J. Symons, V.C.; by descent to the present owner.For further information on this lot please visit Bonhams.com
ACKERMANN (RUDOLPH)A History of the University of Cambridge, its Colleges, Halls, and Public Buildings, 2 vol., FIRST EDITION, half-titles, engraved portrait, 95 hand-coloured aquatint or engraved plates after Pugin, Westall, Mackenzie, Unwins and Pyne, without the 16 portraits of Founders (as usual with early issues), off-setting from plates to facing text leaves, red morocco gilt by Gray of Cambridge [Abbey Scenery 80; Tooley 4], large 4to (365 x 290mm.), R. Ackermann, 1815This 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
HOBBES (THOMAS)Elementa philosophica de cive, engraved pictorial title, thin trace of worming to opening half, mostly lower margin but touching letters on some pages, later vellum, upper hinge split [Willem 1048, 3 variants, our copy pp. [48], 403, issued without portrait], 12mo, Amsterdam, Elzevir, 1647--HEYLYN (PETER) A Help to English History, Containing a Succession of All the Kings of England, some early ink annotations, light damp-stain at inner margin to a few pages, contemporary calf, worn, upper cover near detached [ESTC R18864], 8vo, T. Basset and C. Wilkinson, 1680--CUMBERLAND (RICHARD) De legibus naturae disquisitio philosophica, blank piece of lower margin torn away from 3 leaves, light browning throughout, several ink and numerous pencil annotations throughout, contemporary calf, worn, upper cover detached [ESTC T101673], 8vo, Dublin, J. Carson, 1720--[CHARLES II] Eikōn basilikē deutera. The Pourtraicture of His Sacred Majesty King Charles II. With his Reasons for Turning Roman Catholick... Found in a Strong Box, engraved frontispiece, later calf, worn, upper cover detached [ESTC R14898], 8vo, [London, no publisher], 1694--CALVIN (JOHN) The Institution of Christian Religion... Translated into English, title within decorative woodcut border (laid down with some small losses at lower section), arc of damp-staining to lower section of approximately 200 opening leaves, later calf, worn, joints weakened [ESTC S107162], small folio, John Norton, 1611--BURTON (JOHN) Monasticon Eboracense: and the Ecclesiastical History of Yorkshire, 3 folding maps and plates, fore-edges softened to opening leaves, contemporary calf, worn [ESTC T153577], folio, for the Author, by N. Nickson, 1758; and 8 others (14)Footnotes:Provenance: Third title, Robert Conway, inscription dated 1769 on dedication leaf; Fourth, 'Found amongst the ruins after the destruction of the House of Commons by Fire in 1833', ink note 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
GILL (ERIC) AND JOSEPH CRIBBCribb family archive of original artwork (sculpture and watercolour), manuscripts, and prints by or relating to Joseph Cribb, Eric Gill and his daughters, collected by Joseph Cribb, comprising:CRIBB (JOSEPH) The Crucifixion, with 2 kneeling figures (?Mary and St. John/Joseph), a Dominican monk beside flowering lilies, and a Franciscan monk beside a leopard, STONEWARE RELIEF SCULPTURE PAINTED IN COLOURS, a 'hand and cross' symbol etched on the reverse, 100 x 185 x 24mm., undated CRIBB (JOSEPH) S. Gertrude, pen and watercolour of Gertrude seated reading St. Paul's Epistle to the Ephesians, SIGNED WITH INITIALS AND DATED ('H.J.C. 1930') on image, mounted, framed and glazed, 1930GILL (ERIC) The King Enamoured of Anne, woodcut, mounted, framed and glazed, image to view 320 x 195mm., SIGNED ('Eric G., 1//10') on the image, [1937]GILL (ERIC) The Woman of Samaria, woodcut, mounted, framed and glazed, image to view 130 x 230mm., SIGNED ('Eric G., 6/10') on the image, [1931]GILL (ERIC) Madonna and Child, wood-engraving, mounted, framed and glazed, sheet to view 108 x 68mm., SIGNED with initials ('E.G.') and worn inscription beneath image, [1922]GILL (ERIC) Our Lady of Lourdes, woodcut, printed in black, red, green and yellow, laid down and window-mounted, image to view 315 x 240mm., [1920][GILL (ERIC), after] Madonna and Child, glass painted in black, with image (enlarged from print above) scratched out, framed in lead, image 225 x 165mm., [after 1922]GILL FAMILY. 'The Apple Barn Club Magazine. No. 3 September', MANUSCRIPT with written and watercolour contributions by Gill's daughters Elizabeth, Petra and Joanna, on paper, 30 pages (6 blank) of lined paper including 5 full-page pencil and watercolour drawings, other smaller ones and decorations, one index leaf, one watercolour of a lion by 'Lucanus' (Elizabeth), loose in portfolio wrappers with full-page watercolour and title on upper cover, and watercolour of a bull's head on lower cover (both in an unidentified adult hand), with outer wrappers of grey paper with pen and ink pictorial title label on upper cover, approx. 265 x 240mm., September 1915GILL FAMILY. 'Farm, Field and Fireside Monthly... November [-December] 1918', 2 issues, MANUSCRIPT, with written and watercolour contributions by Gill's daughters Elizabeth, Petra and Joanna, each 12 pages of lined paper, with ink poems illustrated in pen and watercolours, stitched brown paper wrappers with decorative manuscript title and index in ink and colours, approx. 250 x 190mm., November-December 1918together with a small unsigned woodcut print by Gill of the Madonna and Child with Gallows, and 2 framed reproduction portraits of David Pepler and David Jones by Gill (small quantity)Footnotes:Joseph Cribb (1892-1967), 'Gill's first apprentice [since 1906], was still an essential part of workshop life at Ditchling... The overflow of workshop into family relationships... is especially obvious in the story of the close, even intermarried, Gills and Cribbs... Cribb in a sense was an extension of Gill' (Fiona MacCarthy, Eric Gill, 1989).The material in this archive, whether by Cribb, Gill or his daughters, all belongs to the period when Gill settled at Hopkins Crank, a house a few miles outside the village of Ditchling, Sussex between 1913 and 1924, where both men converted to Catholicism, and established the Guild of SS Joseph and Dominic. The religious subject matter of Cribb's sculpture of the Crucifixion and portrait of St. Gertrude, and Gill's engraving of the Madonna and Child are representative both their interests and wide range of working methods.Like the Bronte Sisters, Gill's three daughters, at this time home educated in a 'regime of self-sufficiency' (MacCarthy), produced a series of hand-made magazines, a charming combination of small poems and illustrations (churches, houses, flowers and landscapes). The first volume of The Apple Barn Magazine (April-June 1915) is held at the William Andrews Clark Memorial Library, Los Angeles. We have been unable to trace other examples of Farm, Field, and Fireside.The collection was loaned for exhibition to the Ditchling museum between July 2017 and July 2021.Provenance: Herbert Joseph Cribb (1892-1967); by descent to the present owner.For further information on this lot please visit Bonhams.com
ARMENIAEPHRAIM THE SYRIAN (SAINT) Girk Aghotis: Asatseal Srboyn Ebremi Khourwoyn Asorwots [Prayer Book], text in Armenian, all leaves within typographical border, full-page woodcut portrait of Ephraim on p.2, title with head-piece incorporating vase and flowers with palmette in border (shaved), capital letters formed by human figures, small hole filled to opening to leaves, old stain to final 8 leaves, modern calf [not in BL or Bodleian], 8vo, [Constantinople/Istanbul, Yohanis and Poghos, 1788]Footnotes:Prayers of the fourth century Saint, Ephraim the Syrian, beneath whose frontispiece portrait is a printed note that the book's benefactor is Mateos Aknetsi, from Egin in western Armenia.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
BRAZILRODRIGUEZ (EUGENIO) Descrizione del viaggio a Rio de Janeiro della flotta di Napoli, FIRST EDITION, half-title, frontispiece portrait of Pedro II, one large hand-coloured lithographed panoramic view of Rio de Janeiro from the sea on 2 sheets joined (with other vertical folds), one large folding hand-coloured map of the Bay of Brazil, spotting to frontispiece and title, small view pasted over old ex-libris name in lower fore-corner of title, nineteenth century half vellum over marbled boards, large 8vo, Naples, Caro Batelli, 1844This 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
SUFFRAGETTES – PANKHURST, TERRERO & THE PINNER WSPUPortrait photograph signed 'E. Pankhurst/ Nov. 1913' in ink on the image, depicting Emmeline Pankhurst half-length in a white dress with black buttons and bow tie, photographer's stamp '©/ Matzene/ Chicago' on the image, 188 x 115mm., with frame 307 x 222mm., November 1913; Autograph letter signed ('Jane Terrero/ One of the Bold Bad Ones!') to Mrs Verden, thanking her for her support ('...I can't tell you what a joy and what a privilege I feel it is to be here for our glorious cause... Had I come here as an 'anti' I should certainly be a suffragette now!...'), 3 pages on a bifolium, marks and dust-staining, loss to corners where removed from album, torn in two and roughly repaired, 4to (237 x 190mm.), on pale blue Holloway Prison notepaper, 18 March 1912; Album compiled by Marie Wallis Verden of the Pinner branch of the WSPU, containing postcards (portraits, demonstrations etc.), photographs of outdoor meetings, programme for the Demonstration in Hyde Park, 14 July 1912, WSPU correspondence, press cuttings from Votes for Women and other newspapers about the activities of the branch including the imprisonment of Jane Terrero and descriptions of forcible feeding, 32 leaves, some leaves loose, foxed, marked and discoloured, upper cover disbound, spine lacking, folio (365 x 242mm.), [1911-1913]; with three other letters, one to Mr Terrero from Keir Hardie (secretarial) about the unjust sentences passed on suffragettes, 2 April 1912, typed letter to Mrs Terrero regarding her letter to the Times, 3 July 1912, and typed letter from Antony Derville of BBC's Woman's Hour to Mrs Phyllis Pearce asking to read her memoirs of her time as house parlour-maid to Mrs Pankhurst, with her autograph notes on reverse, 28 January 1964; programme for the unveiling of Mrs Pankhurst's statue by Mr Baldwin, 6 March 1930; a loose collection of six portrait photograph postcards (Christabel Pankhurst, Emily Wilding Davison, Annie Kenney, Lady Constance Lytton, the arrest of Grace Roe with accompanying press photograph, etc.); and a shield-shaped WSPU Votes for Women pin badge, green, white and purple enamel, maker's mark 'W.O. Lewis' on reverse, 21 x 22mm., [c.1910] (collection)Footnotes:'ONE OF THE BOLD BAD ONES!': A collection of suffragette memorabilia from the Pinner Branch of the WSPU.The collection comes from the family of Phyllis Crome Pearce, née Verden (1889-1981) and her mother Marie Wallis Verden (1866-1956), wife of Mr Mark Verden, who were leading lights of the Pinner branch of the WSPU. The branch was founded in 1908 by five women, all neighbours, including Marie Verden and its Honorary Secretary, Janie Terrero (1848-1944) who, with her husband Manuel, frequently hosted fundraising garden parties in the grounds of their home, Rockstone House. Terrero was arrested for window smashing on 1 March 1912 and was sentenced to four months in Holloway during which she took part in two hunger strikes - her extensive notes describing her experiences in prison are held as part of the Suffragette Fellowship Collection. As well as documenting Terrero's arrest and imprisonment, newspaper cuttings in the album mention Marie Verden's role as Honorary Treasurer of the branch, whilst her daughter Phyllis is also mentioned as being involved in fundraising events. Both Marie and Phyllis held the role of Secretary at one time. Marie is said to have sustained injuries in the deputation to Buckingham Palace on 21 May 1914, the last major act of militancy before the First World War. Whilst training to be a nurse Phyllis met and married Frank Pearce (1878-1946), already a leading dental surgeon and Honorary Secretary of the British Dental Association. In 1936 he was created President of the Royal College of Dental Surgery, their highest honour, and received a knighthood for his contribution to dentistry, although Lady Pearce was said to be uncomfortable with using the title. A letter from the BBC's Woman's Hour Programme from 1964 reveals that Phyllis at one time held the position of 'house parlour maid' to Emmeline Pankhurst, through whom she may well have met leading suffragettes including Ada Wright (see adjacent lot). According to the family, Phyllis was the most active and militant of the Verden family and served in Holloway prison at the same time as Emmeline Pankhurst. They tell of the family house being stoned and windows broken by opponents of the Suffragette movement, with family members being chased up Pinner High Street by anti-suffragists. For more on the Verden family and the suffragette movement in Pinner see Thomas MacIver's article, 'Pinner's Suffragette's', London and Middlesex Archaeological Society Transactions, 69, 2018, pp.269-282. In this article a 'Miss Wright' is mentioned as sharing the responsibility for running the branch with Mrs Verden in 1914 but the connection, if any, to Ada Wright is not known.The photograph of Emmeline Pankhurst was taken in Chicago on a highly successful tour of the USA in the Autumn of 1913. She was on the run from the British authorities after refusing to return to Holloway in June 1913 under the terms of the Cat and Mouse Act and, as a convicted criminal, she should have been refused entry to the USA. She was detained at Ellis Island on arrival but, after pressure from various women's groups, she was allowed to continue her visit on the promise of good behaviour. She was rearrested on her return to the UK in December 1913. Provenance: Phyllis Crome Pearce, née Verden (1889-1981), the present owner's grandmother.For further information on this lot please visit Bonhams.com
JUSTINIAN IInstitutiones... libri IIII, 2 vol., gothic letter, printed in red and black, large devices on title, large woodcut of Justinian with his spiritual and temporal princes (repeated in volume 2), genealogical tables, some defects including the loss of one leaf (2Ci) in volume 1 and significant loss to A3 in volume 2, final leaf of volume 2 repaired affecting letters, large fragments of two fifteenth century manuscript leaves (in Latin) used as binder's waste retained and mounted on stubs, contemporary French blind-stamped calf over wooden boards, rebacked, wanting clasps, folio (410 x 285mm.), Lyon, [Thomas Bertheau] for Hugo & haered. Aemonia a Porta, 1542--Digestum novum pandectarum iuris civilis, vol. 3 only, large woodcut device on title, contemporary blind-stamped pigskin over wooden boards, stamped 'E.M.H.' with date '1566' on upper cover centred on a a portrait of Lucretia with sword, the lower a female allegorical figure of 'Justice', lacks clasps, folio (345 x 230mm.), Paris, Merlin and Deshoys, 1566--[GREGORY III] Corpus juris canonici emendatum et notis illustratum. title printed in red and black, old vellum chapter tabs at fore-margins, small stain at fore-edge of title, a few single wormholes at end, contemporary blind-stamped pigskin over wooden boards, lacks metal corner-pieces, soiled, 4to, Basel, Emanuels Konig & Sons, 1670 (4)Footnotes:Provenance: First title, Birmingham Law Society, 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
DICKENS (CHARLES)The Life and Adventures of Nicholas Nickleby, first edition in book form, half-title, engraved portrait frontispiece after Daniel Maclise, 39 engraved plates by H.K Browne ('Phiz'), small wormholes in inner gutter not affecting text, offsetting to some plates, light foxing throughout, all plates browned at edges, publisher's dark olive green diaper-cloth gilt, rubbed with small abrasions at head and foot of spine, morocco-backed case [Eckel p.64; Podeschi A41; Smith I:5], 8vo, Chapman and Hall, 1839Footnotes:Provenance: Mary Drabwell, Doncaster, early ownership inscription at head of title-page and bookseller's ticket ('Sold C. White... Doncaster') on front paste-down.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
A FINE VICTORIAN SILVER-GILT EWER by Alexander Macrae, London 1865, the ovoid body engraved with bands of leaves and swags, applied with two portrait roundels of King David of Jerusalem. 34.5cm high, 25.1 troy ouncesA lovely set of crisp and clear marks to the neck. Small bruise to the body and the ewer does rock slightly. In generally good condition commensurate with age.
After Thomas Lawrence (British,1769-1830), portrait of the Hon. Emily Mary Lamb (1787-1869), later Countess Cowper and Viscountess Palmerston, oil on canvas, framed, 19x23.5ins, 25x29ins inclusive of frame.Small white mark to the canvas - does not impinge upon the figure.Canvas is loosely housed in frame.Minor Craquelure to the canvas.
Churchill (TO) The Life of Lord Viscount Nelson Illustrated by Engravings of its Most Striking and Memorable Incidents 3rd Edition Bowyer et al 1811, large 4to, portrait frontis, faciisimile letter, 13 plates (2 folding) cloth boards (some wear) together with nelson and His Times Beresford and Wilson (af) (2)
A late 18th century creamware documentary Nelson jug with oval medallion printed with a fuill length portrait of Nelson titled " Baron Nelson of the Nile and Burnham Thorpe in the County of Norfolk" the reverse with medallion titled " Poor Jack" with verse below cf David Drakard Printed English Pottery pl.479 for similar examples22cm highchip to underside of foot some crazing and wear no other damage or restoration
A GROUP OF MINIATURE MEMORIAL PORTRAITS 19TH CENTURY To include: a die stamped gilt metal relief portrait of Admiral Lord Nelson, in glazed alabaster frame, frame 14.5cm diameter, A gilt metal profile portrait of George III, velvet backing in gilt metal frame, frame 13cm high, And a portrait of Napoleon on ceramic base, heavy gilt metal frame, remains of inventory inscription to reverse, frame 9cm diameter (3) Provenance: The first from H C Baxter and Sons, 2007, the third from Timothy Millett Ltd, 2006
Y A MATCHED SHAGREEN AND IVORY DESK SUITE IN THE MANNER OF ASPREY ENGLISH, 1930s Comprising silver plate mounted jotter, 19 by 12.5cm; domed stationery box, 24.5 by 19.3cm; and five strut back glazed photograph frames (7)Please note: Dreweatts have applied for a de minimis exemption licence for the ivory in this lot (Ref: QJ6F6CHF) Condition Report: The photograph frames: pair 17 by 13cm aperture 14 by 9.5cm; portrait frame 35 by 28 cm, aperture 31.5 by 24.5cm; landscape frame 30 by 35cm, aperture 26.5 by 31.5cm; landscape frame 27.5 by 35cm, aperture 24 by 31.5cmMinor Wear, marks, knocks and scratches (mostly to backs of frames) as per age, handling, use, and cleaning. large portrait frame with sliver of ivory missing to lower left corner, One large landscape frame with some cracks to back panel insert box with small knock to back edge and no key, jotter with verdigris around metal sections and ink spots Otherwise generally good and look not to have suffered the usual damages from sunlight and usePlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A LARGE WILLIAM & MARY OLIVEWOOD OYSTER VENEERED MIRRORCIRCA 1690Incorporating cross grain mouldings93cm high, 73cm wideCondition Report: Old marks, scratches and abrasions, old chips and splits comensurate with age and use. Some small losses. Some old repairs. Some old worm damage as expected for age but relatively minor (see images).Retains very good rich colour and depth of patina overall . The moulding adjacent to the mirror plate being slightly more faded likely due to a cloth cleaning the mirror plate over time but not significantly. As most often seen for a cushion mirror of this date, the original surmount is now lacking (indicated by pair of 'cut out' elements to the reverse of the edge of the mirror frame. The cut outs also indicate that the mirror was intended to hang in 'portrait' format and not landscape.This mirror is of larger format than many of this model and date. The figuring/ placement of the oyster veneers is unusual and highly attractive. The mirror plate is a mercury plate of significant age and is hand bevelled. There seems a fair chance that it is original but we cannot guarantee this.The reverse of the frame is original and in sought after 'dry' condition. The rear panel to the mirror plate appears likely to be original also. Please refer to the additional images for visual reference to condition. Condition Report Disclaimer
A selection of framed and glazed prints and others to include a French charcoal portrait of a young girl's head signed lower right 49cm x 32cm in a glazed frame, various aviation prints to include Lancaster by Robert Taylor signed in pencil by Leonard Cheshire to lower margin 41cm x 52cm in glazed frame, Tombleson's panoramic map of the Thames and Medway, and others Location:G
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