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William Roberts R.A. (British, 1895-1980)Sam Rabin versus Black Eagle gouache28.2 x 19.1 cm. (11 1/8 x 7 1/2 in.) (sheet); 22.6 x 17.2 cm. (8 7/8 x 6 3/4 in.) (image) Executed in 1934Footnotes:ProvenancePrivate Collection, U.K.ExhibitedProbably London, Lefevre Gallery, William Roberts: Drawings and Paintings, February 1935, cat.no.25Probably London, Lefevre Gallery, William Roberts: Paintings, March 1938, cat.no.25The boxing match was a subject Roberts favoured, returning to often, and in fact he painted and drew this subject so many times that the development of his style from angular Vorticism to a more naturalistic mature personal style can be traced through these scenes. From the early 1914 drawing Boxers - a mass of moving, jagged limbs in highly contrasting monochrome – to later renditions of this theme such as The Interval Before Round Ten (1919-20), Novices (circa 1921) and The Boxing Match (circa 1925-7), the move from a cubist fragmentation towards more complex compositions utilising three-dimensional space, naturalistic colouring and human forms can be seen. Twenty years on from his initial studies of this subject, in the present lot we can see that his desire to capture action and movement is no less diminished, but the development of his distinctive personal style can be traced through this popular subject perhaps more clearly than any other. In Sam Rabin versus Black Eagle, Roberts captures a particularly dramatic moment in the fight, showing Rabin with an upended Black Eagle, tipping him over the side of the ring as he clutches onto the ropes, to the alarm of the boxing officials. Characteristically for Roberts he creates a composition full of dynamism, communicating the force of the boxers and the consternation of the officials with practiced skill. Atmospherically lit with a dark background and brightly illuminated stage, the corner of the ring framed in a closely-cropped composition, the viewer is presented with a tangle of limbs and ropes, outstretched arms and faces contorted in effort. While Roberts painted and drew boxing subjects on numerous occasions, the present lot is unusual in that it depicts two named boxers who each have a unique history. In contrast to other paintings on this subject such as The Interval Before Round Ten or The Boxing Match, the boxers are identified and the match may perhaps have held greater significance for Roberts given that he knew Sam Rabin personally. Rabin had trained as a painter and sculptor at the Slade School of Fine Art, and had an exhibition of paintings at the Leicester Galleries in 1960, mainly of boxing subjects. His opponent (Wilfred) Robert Adams, who went by the wrestling name of Black Eagle, had also previously studied to become a teacher in Georgetown, British Guiana but after arriving in Britain in the 1920s and working as a labourer for some time, a sports promoter persuaded him to become a professional wrestler. As the Black Eagle, he became heavyweight champion of the British Empire. He was also an actor and was the first black actor to appear on British television. The significance of the boxing subject for Roberts cannot be underestimated and indeed a great number of the paintings and drawings he did featuring boxers are in the collections of public institutions around the world, including Novices (Whitworth Art Gallery, Manchester), Outclassed (British Museum, London), The Interval Before Round Ten (Art Gallery of New South Wales, Sydney), and Sparring Partners (Tate Gallery, London). Indeed, Sam Rabin versus Black Eagle is a study for the finished painting of the same subject in the collection of the National Gallery of Victoria, Melbourne. The present lot is thus a rare opportunity to acquire a museum-quality drawing with a subject of unique importance to the artist.We are grateful to David Cleall and Bob Davenport for their assistance in cataloguing this lot.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

Sir Stanley Spencer R.A. (British, 1891-1959)Mrs Linda Few Brown oil on canvas84 x 63.5 cm. (33 x 25 in.)Painted in 1958Footnotes:ProvenanceCommissioned by the sitter's parents in 1958, thence by family descent to the present ownerPrivate Collection, U.KExhibitedLondon, Royal Academy, Summer Exhibition, 2 May-16 August 1959, cat.no.106Literature'Our artists look at us - honestly', News Chronicle, 1 May 1959, p.4 (ill.b&w)'Academy portrait', Maidenhead Advertiser, 8 May 1959, p.9 (ill.b&w)Exh.cat., The Royal Academy Illustrated 1959, Royal Academy, London, 1959, p.19 (ill.b&w)Keith Bell, Stanley Spencer, A Complete Catalogue of Paintings, 1992, Phaidon Press, London, p.360, cat.no.433 (col.ill.)At the time of this portrait, Stanley Spencer had long been acknowledged as one of the leading British painters of the twentieth century. Famed for his imaginative figure paintings and biblical themes, often set in his home village of Cookham, he was also a distinguished war artist. His remarkable murals in the Sandham Memorial Chapel - presented to the National Trust in 1947 - commemorate his experiences in the army during the First World War. In both World Wars, he was a critically acclaimed official war artist. A versatile genius, he additionally painted a series of mesmerising landscapes and portraits. In his earlier years, the sitters in his portraits were frequently members of his social circle. Throughout his career he produced an outstanding series of honest and uncompromising self-portraits. In the 1930s he painted some startlingly intimate nude portraits of Patricia Preece, his future second wife, two of which were double nudes of the artist with Patricia. When he painted his then lover Daphne Charlton - Daphne 1940 (Tate) - he deliberately reduced her to tears each day to get, as he told her, and she recounted to me, some emotion into her face.In the 1950s, already a C.B.E. and R.A., he was much in demand as a portraitist, receiving commissions from various friends and patrons (the two often became synonymous). There was the added attraction of their likenesses being exhibited at the Royal Academy. Spencer responded particularly well to his female sitters, often showing them in a half-length format at home in a relaxed setting, as in this portrait of Linda Few Brown. This is one of Spencer's finest late portraits, and forms a striking image, in which the twenty-three year old Linda leans over the stable-style door, at the front of her house, Sherlocks, in the heart of Cookham Dean. Dressed informally, she seems very close to the viewer, as if about to speak. Linda and Peter Few Brown moved to Cookham Dean on their marriage in 1955. In the picture, her engagement and wedding rings are clearly visible. A few years later they moved again, to Primrose Hill, another house in the Dean. The format of a woman at a door or window has historical precedents, for instance in seventeenth century Dutch paintings such as Rembrandt's Girl at a Window (1645) (Dulwich Picture Gallery). In the oft quoted but presumably apocryphal account by an early owner, the French theorist Roger de Piles, Rembrandt was supposed to have placed the picture in his window, so that it was mistaken for a real girl. Spencer for his part painted a notably modern woman, but the effect is equally immediate. In this case, the pose was suggested by Linda's mother Dorothy Milling who with her husband Geoffrey commissioned the portrait; it was regarded locally as a wedding gift. Spencer wrote of the picture on Sherlocks notepaper to his dealer Dudley Tooth, in an undated letter: 'Mrs Milling is bringing in the portrait of Mrs Linda Few Brown. She has given me the cheque for it. It was to have been full of flowers & creepers but I was not able to manage [as he had been ill]. She wanted to pay me more but I insisted on two hundred & seventy five guineas. Doing the painting was a very enjoyable experience. It may be rather an interesting thing to frame. As it was Mrs Milling's idea that I should paint Linda leaning over the door, I think Mrs Milling has very good ideas. Yours ever Stanley'. Mrs Milling received a letter dated 17 March 1959 from Arthur Tooth and Sons, about arrangements for the collection of the picture from her London address, presumably for inclusion in the Royal Academy's Summer Exhibition. Spencer probably also enjoyed the fact that, at the first sitting at least, Linda offered him 'fresh cream cakes', which she understood he liked. She was a regular customer at a local bakery, and one day ordered cakes, explaining she had a 'painter' coming. Dennis Adams in the bakery assumed she referred to a decorator, and thought 'lucky old painter', but was surprised the following day when Linda returned 'followed by a little man with tousled hair, wearing a pin striped suit, which was covered in paint splashes, pushing an old black pram, loaded with painting gear'. Linda Few Brown later recalled that the sittings lasted a month. She normally gave Spencer a lift on her Vespa scooter from his home, Cliveden View in Cookham Rise, and back when the sitting ended. He would spend the day at work, so she also provided lunch. After the portrait was finished, she asked him to draw her corgi Soxy. He made two drawings with expert rapidity (see lots 25 & 26).Two photographs, annotated 'Sept 1958', show the artist standing at his easel on the path just outside the door. The partially completed canvas reveals that he focused on the sitter, probably starting as usual with the eyes, so as to position the head correctly on the canvas, before turning his attention to her surroundings. The head of the just over life-size figure is placed close to the top of the canvas. She wears a cardigan and rests her arms on cushions (probably essential for comfort), none of which appear in the final picture. Spencer was a master of composition, framing the sitter with architectural features and providing a view into the interior of the house. With his love of pattern, he has dwelt on lines and curves: contrasting the stripes of her top, and the grooves between the planks of the door, with the swirls of the intricate door knocker and the calligraphic depiction of her hair. The colours stand out clearly and shadow is treated with subtlety. The painting has not been seen in public since the Royal Academy's summer exhibition of 1959 - his final showing at the RA - where it was one of three works by Spencer. The other two were his Portrait of Kate Morrell (1959) and Boys' Garden (1957) (the area of Kate's garden where her sons played). The portrait of Linda Few Brown was singled out by the reviewer in the News Chronicle (May 1, 1959), who criticised many artists for depicting 'merely pretty girls', whereas 'Stanley Spencer has looked hard at Linda Few Brown'. The portrait was reproduced over the caption, THE 'GIRL WITH CHARACTER'. On 7 July 1959, not long after the portrait was on display, Stanley Spencer received his knighthood at Buckingham Palace from the Queen Mother. We are grateful to Carolyn Leder for compiling this catalogue entry.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

Alfred Wallis (British, 1855-1942)Fishing Boat with Black Sky signed 'A. WALLIS' (upper right)oil and pencil on card18.4 x 46.7 cm. (7 1/4 x 18 3/8 in.)Footnotes:ProvenanceSven Berlin, from whom acquired by Elizabeth Leach (Bernard Leach's daughter-in-law), thence by family descent to the present ownerPrivate Collection, U.K.The present, and preceding two lots, were formerly in the collection of Sven Berlin before passing directly into the family of Bernard Leach. Both men were front and centre within the St Ives circle of creatives and their influence on contemporary and later artists, ceramicists and collectors cannot be overstated. Berlin was a dancer, painter and author, who published the first biography on Wallis, 'Primitive', in 1949. Leach, together with Shoji Hamada, founded the Leach Pottery in 1920 which remains, to this day, one of the most respected potteries in the world and is widely considered as the birthplace of British Studio pottery.At the end of the 1920s, a sudden interest in the work of Alfred Wallis coincided with a revival of arts and craft traditions and Wallis' paintings and Leach's pots shared an authenticity and immediacy that the young Herbert Read famously hailed as a vital 'truth to materials'. The importance of place and a focus on local traditions were common to both men, an aesthetic that was reassuringly familiar yet freshly expressed. The Leach pottery provided employment for significant names of the period, including Patrick Heron, and became a centre for social and professional exchange among the St Ives set but it was Sven Berlin, in particular, who formed a strong bond with the family.An opportunity arose for Berlin to work evenings at the Pottery to earn some extra money and before meeting the master, he met his son David who was living in Carbis Bay with his wife Elizabeth. They became close and would walk home together - 'in a very short time, the Leach Pottery became like a second home for Berlin' (David Wilkinson, The Alfred Wallis Factor. Conflict in Post-War St Ives Art, The Lutterworth Press, Cambridge, 2017, p.17) and he 'frequently spent the evenings in conference with Bernard and David Leach, sitting round the fireplace alongside their apprentices' (Op.Cit., p.46). Indeed, Berlin temporarily entrusted his beloved collection of Wallis paintings to Bernard's safekeeping when he went off to war and on Wallis' death in 1942, it was Bernard who made the tomb decoration for his grave - a series of glazed tiles depicting a tiny, lone figure entering a lighthouse. Elizabeth Leach, David's wife, acquired the present work (together with Lots 1 and 2) directly from Berlin for £1 each and they have remained in the Leach family until now.Wallis's time at sea was spent in sailing vessels, but during his lifetime he witnessed the last days of commercial sailing ships as they were replaced by steamships. Many of the paintings acquired from Wallis were given titles by the purchasers rather than by Wallis himself and the subject was often mistakenly identified. This may be the case in Fishing Boat with Black Sky as the vessel depicted is very similar to the steamships that appear in other paintings by him. Wallis perfectly captures the power and movement of the single steamship using directional brushwork and rich impasto to depict the icy blue sea she cuts through at pace. Steam from the rear funnel trails behind in her wake and white surf is churned up at the bow with the speed of her passage. A small lifeboat and seven crew members can be seen on deck, all bravely facing into the wind and set against a moody horizon.For further information on this lot please visit Bonhams.com

Helen Bradley (British, 1900-1979)'And what' said Bruce Sharman, 'is your Aunt saying to Miss Carter' inscribed with fly monogram (lower left); further signed, inscribed and dated ''and what' said Bruce Sharman, 'is your Aunt saying to/Miss Carter (who wore Pink) ... 'Ha', I said, 'how I/remember poor Miss Carter turning pale at the/thought of Grandpa rowing us all back across/Windermere to the station at Lake Side'/'Dont worry', said Aunt Frances, 'you'll be quite alright'/and Mother gave her a comforting pat, 'but what/a pity', said Aunt Mary & Aunt Charlotte', the/mist hasnt cleared'. Grandpa & Grandma had/taken us for a days outing from Blackpool/and while at Town Head, he bought a pony/called Zober for us and the year was 1907./Helen Layfield Bradley. July 26th. 1970.' (on a label attached verso)oil on canvas laid on board45.7 x 61 cm. (18 x 24 in.)Footnotes:ProvenanceThe Artist, from whom acquired by the family of the present ownerPrivate Collection, U.K.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

Sir John Lavery R.A., R.S.A., R.H.A. (1856-1941)Bull fight signed and dated 'J. Lavery 92' (lower right)oil on panel13 x 21.6 cm. (5 1/8 x 8 1/2 in.)Footnotes:ProvenancePrivate Collection, U.K.In 1892 Lavery travelled back from Tangier through Spain with fellow painter Alexander Mann, who noted in letters dated in April and May of that year that despite having a heavy cold, Lavery attended a number of bullfights. It is likely that his interest in this subject was first ignited by close friend Joseph Crawhall's bullfight scenes painted at Algeciras, which were subsequently shown at the Scottish Society of Painters in Watercolours exhibition in Glasgow in 1889. Lavery responds to the scene as an intriguing subject foremost – he found the brutality of the sport unsettling – later commenting to Walter Shaw Sparrow that: 'a curious thing happens when an artist sits down before his subject; material things vanish, only colour and its plots remain, and they look visionary. I have never seen a bullfight, though I have been present at twelve in Madrid and Seville. I don't think I could watch a bullfight, as I am very fond of horses; it is the moving colour that attracts me at this cruel sport' (Walter Shaw Sparrow, John Lavery and his Work, London: Kegan Paul, Trubner, Trench and Co, 1912, p.98).In the present lot, Lavery manages to depict the whole scene quickly and with great skill, captured en plein air by the side of the bullring. Generous brushstrokes convey the expanse of sand filling the ring, with a stripe of orange demarcating the perimeter, beneath a cloudless blue sky. Flashes of colour – the matador's robes in bright green, small accents of red – punctuate the scene. Lavery captures movement with great ease, the matador with flowing purple cape striding into the ring suggested with just a few strokes, and contrasting to the solid, unmoving stance of the bull. Painted on a small scale, this study is expertly executed, with a flourish which echoes that of the scene it describes.We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

Sir William Nicholson (British, 1872-1949)Still Life: Emile's Things signed and dated 'Nicholson/1912' (on the lower left of the mirror)oil on canvas92.2 x 71.4 cm. (36 1/4 x 28 1/8 in.)Footnotes:ProvenanceProbably acquired in the 1920s, or earlier, by the present owner's great auntPrivate Collection, U.K.The title of this unrecorded work by William Nicholson is the one used by the family in whose possession it has been since the 1920s, or earlier. 'Emile' was a dressmakers at 9 Hanover Square in Mayfair London, circa 1927-32, whose clientele was mainly debutantes and their mothers; the business was run by the vendor's great aunt. When and where she acquired the painting is not recorded – perhaps direct from the artist as so far it has not been possible to find any exhibition or other references to this work, whose original title has yet to be discovered.The handling of paint is typical of Nicholson at this period who so evidently enjoys the challenge of depicting surface textures and reflective surfaces. There is a dramatic use of light and shade, together with an equally exciting palette of orange, red and turquoise. The work is particularly interesting as part of Nicholson's search to find a rational for his increasingly large still-life's, and several motifs link it to other works of the period, such as the inclusion of a reflected figure in a still-life as in the untraced Still Life, in the Studio of 1911 (Reed cat.237).The composition with a collection of garments and accessories in front of an oval mirror reflecting a female figure recalls the earlier Souvenir de Marie (Dublin City Art Gallery, The Hugh Lane) of 1906. This was presented by the artist to Sir Hugh Lane with a dedication in 1912, the year in which the present work was executed. It is possible that Lane may have encouraged Nicholson to revisit the subject, here treated on a larger scale and in portrait rather than landscape format, but featuring the same black framed oval mirror. There are fewer items here, whose varied textures are skilfully depicted: a black felt hat with feather and a plaited leather band rests on the pale cream fur lining of a coat with an arm hole opening just discernible. Adjoining is the embroidered white lining of the turquoise silk garment to the right – perhaps an opera coat. A pair of ladies red leather walking shoes, made for a slender foot with an elegant French heel, are standing on the turquoise silk. A disconcerting position, while even more startling is the juxtaposition of the orange organza scarf behind. This is the development of a device that Nicholson had used the previous year in The Black Vase (Bradford Art Gallery) where yellow silk provides a single note of colour. The dried seed heads known as honesty, here in a slender glass vase with another spray resting against the mirror, also appeared in the three other works dating from 1911: The Black Vase and The Chinese Vase both in Bradford Art Gallery, and Honesty in a Staffordshire Jug.Nicholson's prominently displayed signature on a piece of paper tucked into the frame of the mirror can likewise be related to Souvenir de Marie - in the latter there is a label in a more conventional location, foreground right. The reflection of the label in the mirror suggests that this is a black mirror rather than the usual silver-backed one. Black mirrors appear in several still-life's of the period, for example China Figures and Black Mirror (Private Collection) of 1909.Although it was primarily colour and texture that dictated their selection, it is possible that whereas the garments in the Dublin painting are all historic or theatrical costumes, those depicted here are contemporary ones. The woman reflected in the black mirror is wearing contemporary evening dress, but in contrast to the opulence of foreground fabrics her gown is sketched out in white. The artist's interest is obviously more in the garments rather than in the woman, which must be evidence that this is not a portrait. There is also the somewhat imperious look on her face, half lost in shadow. (She has after all usurped the viewer's position in the mirror.) In this same year Nicholson painted the untraced Equestrian Portrait: The Lady in Green (Reed cat.254): a reviewer, Sir Claude Phillips, commented that the sitter regarded the onlooker 'with something that nearly approaches a sneer'. This is most unlike Nicholson and might suggest that he was having difficulties with female sitters at this time. The artist's gift of the Souvenir de Marie to Lane was in part thanks for securing him a major commission in 1912, the portrait of Lady Phillips (Johannesburg Art Gallery). Any other link to this commission would be purely speculative, and the woman in the mirror bears no physical resemblance to Lady Phillips. No doubt several portrait commissions before World War I were abandoned – the details of which are now lost – as female sitters proved difficult and unreliable, unlike the beautiful objects in the still life.The canvas bears the Chenil Gallery stamp found on several of Nicholson's canvases dating from the period 1909-1921. The gallery, which was near the artist's studio in the King's Road, Chelsea, sold artist's materials.We are grateful to Patricia Reed for compiling this catalogue entry.For further information on this lot please visit Bonhams.com

Walter Richard Sickert A.R.A. (British, 1860-1942)Mother and Daughter: Lou Lou I Love You signed 'Sickert' (lower right)oil on canvas46.2 x 35.5 cm. (18 1/8 x 14 in.)Painted in 1911Footnotes:ProvenanceSale; Christie's, London, 17 March 2016, lot 27, where acquired by the present ownersPrivate Collection, U.S.A.In 1908, in a letter to a friend, Sickert described the 'trompe l'œuil hat all the coster girls wear here with a crown fitting the head inside and expanded outside to immense proportions'. He was fascinated by these distinctive wide-brimmed straw hats, dubbed 'American sailors', and fascinated by the life stories of those who wore them. Two 'divine' coster girl models sat for him, almost always separately. The paintings in which one or other feature include L'Americaine (Tate, London) and The New Home (W. Baron, Sickert Paintings and Drawings, New Haven and London, 2006, pp.368-70, cat.no.350).In 1911, Sickert returned to the theme of coster women in Camden Town bed-sits. He had spent the intervening period painting some of his most controversial interiors, many given the 'Camden Town Murder' title, in which he had juxtaposed a nude female figure and a clothed man within dilapidated North London bedrooms. Sickert thought of these two-figure paintings as modern 'conversation pieces' in which he exploited the psychological as well as the compositional potential. Their narrative remained ambiguous, but they implied a context both sordid and brutish. In 1911, while still gripped by the conversation piece theme, he sought a different tone. This time he chose to draw and paint his coster models together. The narratives remained ambiguous but their mood is quiet and domestic. The models dressed in their coats with moth-eaten fur collars are squashed into a shallow space, restricted on all four sides and tightly overlapping each other. In Two Women (Harris Museum, Preston) one woman sits on a bed, the other stands, while they engage in grave and intimate conversation; in a variant called The Flower Girl; Two Women (Private Collection) one woman sits on the bed staring out of the picture while the other cheekily bends over to peek behind her, in a pose which for all the world anticipates a modern 'selfie'. The present work relates closely to Mother and Daughter (ibid, pp.380-1, cat.no.368), exhibited with the Camden Town Group in December 1911. It shows the two models sitting facing away from each other on opposite sides of a bed, each wrapped up in her own thoughts.We are grateful to Dr. Wendy Baron for her assistance in cataloguing this lot.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

Victor Pasmore R.A. (British, 1908-1998)Relief Construction in White, Black, Brown and Maroon signed with initials and dated 'VP./1954' (verso)painted wood construction122 x 122 cm. (48 x 48 in.) (including the artist's box frame)Constructed in 1954Footnotes:ProvenanceWith Marlborough Fine Art London,James H. Clark, Dallas, TexasWith Clark Gallery, Lincoln, Massachusetts, 3 February 1982, where acquired by the family of the present ownerPrivate Collection, U.S.AWriting in 1965 on the occasion of Pasmore's Tate retrospective Ronald Alley opens his catalogue introduction with the statement that 'the conversion of Victor Pasmore to abstract art was one of the most dramatic events in post-war British art' (exh.cat., Victor Pasmore, Tate, London, 1965).Pasmore's conversion, which rather poetically coincided with the approach of the century's mid-point, was so dramatic because it was so stark. Within his output hitherto he had seemingly nailed his colours to the mast of representational painting. He was a leading figure in the Euston Road and Camberwell schools and, as such, strongly associated with a credence of high observation. By comparison his output from 1950 onwards consists almost entirely of pure abstraction, interrogating fundamental concerns of space and materiality. Whilst his work from both periods was celebrated contemporaneously and continues to be so today, any alignment between the two isn't immediately clear. However, a parallel can be found in a series of early important constructed reliefs, of which the present work is a fine example.It is important to note that whilst throughout the 1930s and 1940s Pasmore's own output was representational, he did not reject abstraction. As early as 1934 he exhibited work within the Objective Abstractions exhibition at the Zwemmer Gallery, which set to promote British abstraction. Whilst Pasmore's submissions included depictive scenes, within an interview reprinted in the exhibition catalogue he disclosed an embryonic separation between his work and depiction - 'I do not paint directly from nature; I endeavour to paint in relation to natural forms' (quoted in exh.cat., Victor Pasmore, Tate, London, 1965, under cat.no.5). Following this exhibition, he produced a small number of abstractions, but dissatisfied with the results, did not exhibit the works and would later destroy them. Pasmore was also highly engaged with the work of Ben Nicholson, Britain's leading abstract painter of the interwar years. He acquired one of Nicholson's famous White Reliefs, and visited him in St Ives. Pasmore began to revisit abstraction in 1947 but the catalyst for his switch from engagement to devotion – especially to the form of construction, came in early 1951. He was loaned a copy of the 1948 book Art as The Evolution of Visual Knowledge by the American artist Charles Biederman. Pasmore and Biederman, who specifically championed construction as an art form, engaged in a lively exchange of letters and by the following year Pasmore would write –'The problem of giving comprehensible shape to new concepts has been the constant occupation of artists in the last hundred years...today however; abstract art enters a phase of construction.' (Victor Pasmore, 'Abstract, Concrete and Subjective Art', Broadsheet 2, July 1952).Constructed reliefs became Pasmore's primary concern from this point for more than a decade to follow. He submitted examples to several era-defining exhibitions, including those held at Adrian Heath's 22 Fitzroy Street Studio (1952 and 1953) and Redfern Gallery's Nine Abstract Artists (1955). Pasmore's constructions were deemed highly successful – with publications such as The Times declaring them – 'ravishingly beautiful, standing among the finest things of their kind – paintings as well as constructions – produced anywhere during the last 40 years' (The Times, June 1955, quoted in Alastair Grieve, Victor Pasmore, Tate Publishing, London, 2010, p.68).By 1954 Pasmore's approach to constructed reliefs had been clarified into two types; a vertical series and a horizontal series. It is the second of these to which the present work belongs, and to which we can look to find parallels with the first part of his career. Pasmore confirmed himself that the origin of the horizontal constructed reliefs lay with his majestic river scenes of the mid-1940s, and if we look, for example, at his 1947 painting View of Cambridge (also known as Cam from Magdalene Bridge, Cambridge, No 1, Private Collection) the connection is easily traced.In the 1947 painting, Pasmore has used a centrally positioned chimney and building and their respective reflections to divide the composition vertically in half. He has then balanced the tonal impact of left and right by rendering certain elements vividly, whilst softening others to a similar tonal note of the sky, river, and bank. He has utilised the reflections of building and boats to find a rhythmic stacking of elements which draws one's eye up the composition from the fore.In the series of horizontal constructed reliefs he employs these exact same techniques, albeit in a very different manner. The composition is similarly divided in half but by a vertical bar. The two stacks of horizontal elements either side are loosely aligned with an imprecision reminiscent of the watery reflections of the earlier paintings. Overall balance is achieved by the inclusion of two larger block forms in opposing positions, their contrasting tone is then supplemented by heavier or lighter use of impact within the further elements. Across the series, the palette of highlights selected - notes of Indian red, maroon, brown, lilac, ochre, and vermillion - further references his river pictures.The dates of the horizontal constructed reliefs range from the summer of 1954, through to 1958, with a dozen such examples traced including those now in the Tate Gallery, Walker Art Gallery and British Council collections. Examples from the series were shown by Pasmore at This is Tomorrow (I.C.A., 1956), at the 1960 Venice Biennale, his major Tate retrospective of 1965 and more recently as part of Pallant House's 2017 Pasmore exhibition and the Barbican's current Postwar Modern survey. Relief Construction in White, Black, Brown and Maroon is one of the earliest known examples from this important series, and has resided in private American collections since its acquisition at the Marlborough Gallery.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Alfred Wallis (British, 1855-1942)The Flying Scud signed 'A. WALLIS' (upper right); and inscribed 'To Daphne/with wishes for the future/Affectionately/Sven/xmas. 1949.' (in Sven Berlin's hand, verso)oil on card23.5 x 29.8 cm. (9 1/4 x 11 3/4 in.)Footnotes:ProvenanceSven Berlin, 1949, by whom gifted to Daphne Hall Jones, thence by family descent to the present ownerPrivate Collection, U.K.Wallis gave up deep sea voyages in about 1880, shortly after his marriage to Susan Ward, and worked as a fisherman with the Newlyn and Mousehole fleets. He made many paintings of one particular vessel, Flying Scud, on which he had worked. The present work depicts this 1st class lugger, identifiable by its Penzance port registration 'PZ11' emblazoned across the side of the vessel and even shows five of the seven known crew members.The design of these lugsail fishing boats is particular to west Cornwall. With their distinctive outriggers and mizzen sails set at the stern, these were very effective sailing boats. They fished for mackerel, pilchards, and herring according to the season, using drift nets usually set at dusk and hauled at dawn or when the net was full. PZ11 is seen passing a lighthouse, which could be the Wolf Rock Light, which is seen when sailing from Mount's Bay. It is a notable and lonely sight; the lighthouse being built on a single isolated rock eight miles from Land's End.This lot enjoys interesting provenance having been in the collection of Sven Berlin and latterly gifted to Daphne Hall. In May 1949, Hall arrived in St Ives to convalesce and study under Leonard Fuller at the St Ives School of Painting. She quickly met Berlin in a local pub who introduced her to Guido Morris, a passionate printer and typographical designer who had established The Latin Press. Both men were immediately smitten by Hall, but it was Morris who won out and the pair were briefly engaged. Berlin continued to carry a torch however and the gift that Christmas (1949) of the present work and warm tone of his inscription verso, bears witness to this.For further information on this lot please visit Bonhams.com

Alfred Wallis (British, 1855-1942)Steamer, Lifeboat and Lighthouse indistinctly signed 'alfred/wallis' (lower left), further signed 'alfred wallis' (centre right)pencil, charcoal and oil on board36 x 53.5 cm. (14 x 21 in.)Footnotes:ProvenanceJim EdeWith The Piccadilly Gallery, London, August 1962, where acquired byDudley Doust, thence by family descent to Private Collection, U.K.Their sale; Bonhams, London, 9 March 2011, lot 6, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Piccadilly Gallery, Alfred Wallis, 17 July-11 August 1962, cat.no.46Proportion is integral to the work of Alfred Wallis and understanding the value he placed on each element within his work. Ships, houses, trees, people and fish are not represented with realistic scale. Rather, the 'ancient mariner' would allow whichever aspect of the composition was most important to him to also become the largest. In the present work this takes on poignant meaning, both with the forms depicted and the physical scale of the board itself at 14 x 21 inches.Like most artists, he was often influenced by the events that went on around him, painting things he had seen, such as airships or shipwrecks. Of the latter, one in particular made a lasting impression – the wreck of the SS Alba. The Panamanian freighter had been carrying a cargo of coal from South Wales to Italy and ran aground on Porthmeor Beach during a storm in 1938. The St Ives lifeboat, Caroline Parsons, which was still rowed by lifeboatmen, capsized during the rescue mission and was washed onto the rocks but with her crew surviving the disaster. Wallis made a number of paintings of this subject but was perhaps more personally affected by a subsequent tragedy. Following the loss of the first lifeboat, a second was dispatched from Padstow, called John and Sarah Eliza Stych, and loaned to St Ives. On the night of 23rd January 1939, this boat was called out to help a ship in trouble but capsized three times before being washed onto the rocks at Gwithian, near Godrevy. Just one of the crew of eight survived and sadly there were no survivors of SS Winston. The loss was felt deeply in the community and 'Wallis was so upset by this event that he saved three weeks of his pension – his only means of livelihood at the time – and gave it to the lifeboat fund' (Robert Jones, Alfred Wallis, Artist and Mariner, First Light, 2018, p.186).In the present lot, the lifeboat is large and centre stage, the focus of this substantial painting for the artist. Wallis has painted her unmanned and resting in the calm water at the entrance to a harbour. The work can be seen as a touching tribute from a former seaman (and local man) who was well aware of the danger faced by the lifeboat every time she launched and was filled with quiet admiration for the men that worked her.For further information on this lot please visit Bonhams.com

Christopher Wood (British, 1901-1930)Drying Sails, Mousehole, Cornwall oil on board40.6 x 50.8 cm. (16 x 20 in.)Painted in 1930Footnotes:ProvenanceMr and Mrs L.K. Elmhirst, thence by descentPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood, Exhibition of Complete Works, 3 March-2 April 1938, cat.no.37London, The Arts Council of Great Britain, English Contemporaries, 1949, cat.no.2Copenhagen, Kunstforeninger, British Arts 1900-1955, 10-29 April 1956, cat.no.48; this exhibition travelled to Oslo, Kunstnernes Hus, 12 May-10 JuneLiteratureEric Newton, Christopher Wood, The Redfern Gallery, London, 1938, cat.no.437In 1928 Christopher Wood made the decision to join Ben and Winifred Nicholson in Cornwall, rather than return to Paris. He had first travelled to the French capital in 1921 at the age of 20 and his visits had provided invaluable opportunities to observe the finest examples of Post-Impressionism, Cubism and Fauvism. As a result he was familiar with the work of Van Gogh, Gauguin, Cezanne, Matisse and of course Picasso and Jean Cocteau, both of whom he had known and taken lessons with. This time on the continent taught Wood that simplicity and refinement were the essential characteristics of modern art, and it brought a deep understanding of and appreciation for the Primitive movement, which he strove to emulate in his work over the following years in a very English manner. It was during this initial trip to Cornwall, far from the avant-garde artists of Europe, that Christopher Wood and Ben Nicholson were to find their ultimate expression of primitive painting in the form of Alfred Wallis, an 80-year-old retired fisherman and self-taught artist who lived at Number 3 Back Road West in St Ives. Within his home were numerous pictures of ships, lighthouses and harbours painted on a variety of irregular cardboard, paper and other salvaged material with distinctive naivety. This now legendary 'discovery' was to have a profound effect and invigorated both artists who sought to absorb the lessons of the elderly mariner by leaving their lodgings in Feock to move closer to St Ives, with Wood settling at Meadow Cottage overlooking Porthmeor Beach. It was from this location and following almost daily trips to Wallis that Wood wrote to his mother, 'I feel my things are becoming really vital and the studentship has passed, my work is forming something quite personal and sure, unlike anybody else's, and I don't think anyone can paint the pictures I am doing.' (Christopher Wood quoted in Katy Norris, Christopher Wood, Lund Humphries in association with Pallant House Gallery, London, 2016, p.109). Having immersed himself in a seafaring culture which spoke to him, Wood crossed the Channel and spent several months in the fishing village of Treboul in Brittany during 1929. As well as the everyday lives of its inhabitants, many of the images he created are deeply personal and reflect on local customs of the maritime community, observing instances of religious contemplation and festive celebration with both intensity and dignity. The epiphany that had occurred upon meeting Alfred Wallis and the lessons learnt from the nautical communities of northern France were developed in the artist's final visit to Cornwall prior to his untimely death, where he based himself in the tiny village of Mousehole. During March 1930 he worked solidly here for two weeks and described himself to Ben Nicholson as being 'absolutely deliriously happy painting' amongst the narrow grey streets and fishing boats (Christopher Wood quoted in Richard Ingleby, Christopher Wood: An English Painter, Allison & Busby, London, 1995, p.231). Drying Sails, Mousehole, Cornwall belongs to the group of works painted during this busy time and shows the progression of the artist's naïve, figurative style which is entirely unique. It exudes a sense of calm as groups of figures amble along the quay past the Ship Inn, which remains to this day. There can be little doubt this is a fishing community with the large sail strewn across the wall, drying from a recent fishing trip, possibly treacherous given the time of year and in stark contrast to the current atmosphere. The carefully observed structure of the boats is a technique that had been honed on a previous visit to Dieppe, along with the scratching and incising of the painted surface. The flashes of colour both here and in other selected passages of the composition act in contrast to the black, white, grey and brown palette that pervades. This simple clarity of colour and form came from the artist's immediate instinct for his subjects and also the teachings of Wallis who conveyed the essential reduction of these components. Drying Sails, Mousehole, Cornwall is closely related to Ship Inn, Mousehole, completed at the same time and in the collection of Manchester City Galleries.For further information on this lot please visit Bonhams.com

John Wells (British 1907-2000)Crystal from the Earth signed, titled and dated 'John Wells. 1946/CRYSTAL from the EARTH' (on the backboard)pencil and oil on panel27 x 25.4 cm. (10 5/8 x 10 in.)Footnotes:ProvenanceMr Geoffrey Bayldon, by whom gifted to the present ownerPrivate Collection, U.K.ExhibitedSt Ives, Tate Gallery, The Fragile Cell, 2 May-1 November 1998, cat.no.14LiteratureMatthew Rowe, The Fragile Cell, Tate Gallery Publishing, St Ives, 1998, p.31, cat.no.14 (col.ill.)'Here is a tremendous language capable of conveying elemental truths. Words cannot say these things' – John WellsIn the immediate post-war years John Wells was able to devote himself fully to his art for the first time and his slow, measured development is apparent in Crystal from the Earth (1946). In the accompanying catalogue to the Tate St Ives' 1998 exhibition The Fragile Cell, Matthew Rowe describes the present work, 'the device of placing an angular structure centrally within the composition evokes the same sensation of sailing boats as earlier paintings such as Untitled (1945). The lower section of the crystal possesses the gently curving 'hull', and the painted triangles that make up the body of the crystal can also be seen as sails or pennants. These references to former techniques are combined with a renewed interest in natural forms. The highly weathered texture of the surface of the painting augments the idea of a natural object being drawn from the subterranean depths of the earth and may prefigure the heavily scraped-back surfaces of Peter Lanyon's paintings – Prelude (1947), for example.' (Matthew Rowe, John Wells, The Fragile Cell, Tate Gallery Publishing, London, 1998). The former owner of Crystal from the Earth was the actor Geoffrey Bayldon who enjoyed a long and decorated career both on the stage in the West End and for the Royal Shakespeare Company (RSC) as well as in film and television, where he played the title role of the children's series Catweazle and the Crowman in Worzel Gummidge.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

Flemish school; early 16th century."Ecce homo".Oil on panel. Engatillada.It has faults, losses and repainting.It has an ebony frame from the 16th century.Measurements: 24.5 x 18 cm; 30.5 x 24 cm (frame).Formally this work is dominated by the light treatment, very contrasted and effective, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene, reflected in the blood of the body that falls on Christ's body, contrasts with the austere and recollected attitude of the body's posture. It is this composition of the body that brings the artist closer to the Flemish school.This devotional canvas, painted for a private altar or chapel, depicts the theme of Ecce Homo, which is very common in this type of painting. The composition is simple and clear, with Christ's face in the foreground, and the absence of narrative details enhances the expressive power and pathos, designed to move the soul of the faithful who pray before the image, in a sense of tremendism very typical of the Baroque period in Catholic countries. The theme of Ecce Homo belongs to the Passion cycle and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, the symbolic colour of the Passion) and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in comparison with that of the rulers who were judging him. Formally, this work is dominated by the highly contrasted and dramatic treatment of light, based on a spotlight that falls directly on the figure of Christ. The dramatism that stands out in the scene is reflected in the blood of the body falling on the skin.

French school of ca. 1730."The nymph Callisto seduced by Jupiter in the form of Diana".Oil on canvas. Relined.Size: 82 x 83.5 cm; 106 x 106 cm (frame).The gestation of the rococo painting takes place in France during the period of the Regency of Philip of Orleans (1715-23), having its stellar period during the reign of Louis XV (1723-74). The style represented the "discovery of freedom", the main idea of the society of the time. It was a hedonistic style of painting, centred on formal beauty and pleasant subjects, reflecting contemporary high society. In contrast to the thematic and formal rigour of the Baroque, Rococo represented colour and sensuality. One of the favourite themes par excellence during this period was love, which became a society game in which the libertine acted as a virtuoso. The game is broken down into four figures: choice, seduction, fall and rupture, all developed at a very fast pace. In the case of this painting, the scene depicted corresponds to the second moment, that of seduction, which was by far the favourite one for painters. The scene depicts the deception of the god Jupiter by the nymph Callisto, an episode narrated by Ovid in the Metamorphoses (Book II). Callisto, a nymph of great beauty and a member of Diana's retinue, was seduced by Jupiter, who took on Diana's features. Pregnant, the nymph tried to hide her condition from the goddess, who, a virgin herself, forced her companions to remain celibate. Jupiter turned her lover into a bear to spare her from punishment but, discovering the deception, Diana shot her with arrows. On her death, Callisto was taken to heaven by Jupiter, who placed her among the constellations and named her Ursa Major. Thus, the composition shows the goddess Diana, goddess of the hunt, with the fourth moon on her head and a quiver on her back. Next to her, Cupid (carrying the bow and arrows) rests on an eagle.The elements indicated are those that help to identify the two figures. Diana, in ancient Roman mythology, was the virgin goddess of the hunt, associated with animals and wild lands (forests, jungles...) and, later, supplanting Luna as the goddess of the hunt (which is why her attributes include the crescent quarter). Callisto was sometimes described as a nymph, and classical mythology considered her to be the daughter of the Pelasgian king Lycaon, as well as part of the court of Artemis or Diana. Ovid ("The Metamorphoses") records one episode in particular that reflects the relationship between the two: it would show here the moment when the goddess discovers that her maiden has become pregnant by Zeus (Jupiter in Roman mythology), who had transformed himself into Diana to get closer to the nymph; or, perhaps, the very moment of the impersonation. This theme has been treated by masters such as Rubens, Dosso Dossi, Palma the Elder, Gaetano Gandolfi, Guglielmo della Porta, Titian (two versions), Boucher, Federico Cervelli, Nicolas René Jollain, etc.

Flemish School; circa 1500."Ecce homo.Oil on oak panel.It has a 19th century carved and gilded wooden frame.Measurements: 27 x 20 cm; 32 x 25 cm (frame).Christ accepts with a serene face his destiny adopting a pious attitude that enhances his figure. Portrayed with only his long bust, his monumental body stands out against a neutral background, which already anticipates what would be one of the most relevant aesthetic characteristics for the tenebrist current of the Baroque. The artist boldly introduced this neutral background with the intention of creating an image of greater intimacy and symbolic quality. However, he did not abandon the aesthetic characteristics typical of the Flemish primitives, based on the quality of the materials and the painstaking attention to detail that is reflected here, for example, in the gilded powers on the panel, or in the angular folds of Jesus' tunic. This work depicts the theme of Ecce Homo, which is very common in this type of painting. The composition is simple and clear, with Christ's face in the foreground, and the absence of narrative details enhances the expressive power and pathos, designed to move the soul of the faithful who pray before the image, in a tremendist sense typical of the Baroque period in Catholic countries. The theme of Ecce Homo belongs to the Passion cycle and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, the symbolic colour of the Passion) and placing a reed in his hand, kneeling down and exclaiming "Hail, King of the Jews". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; the translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was no match for that of the rulers who were judging him.During the 16th century, the influence of the Flemish school of painting was key to the development of European art. At that time, Flemish painters established a stylistic model based on the search for reality, focusing on the rendering of the qualities of objects, giving special importance to secondary details and using a smooth, draughtsmanlike technique. In the 16th century, as a result of the introduction of the novelties of the Italian Renaissance, the Flemish style evolved towards a more classical and sculptural style, while retaining its own characteristics.

Andalusian school, possibly from Seville, ca. 1700."Infant Jesus".Carved and polychrome wood. Eyes in vitreous paste. Hair. Silver base and cross.Measurements: 28 cm (height); 35 cm (total height).Polychrome wood carving representing the Child Jesus full-length and naked, which indicates that he was originally dressed in royal robes. It is a magnificently anatomically worked carving, of extraordinary naturalism, following the baroque canons of the Spanish school. The Child stands on a chiselled silver base, with its upper part reticulated and the corners ornamented with plant motifs. The cross and the child's shoes are made of the same material.Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented, and an expression endowed with an intense emotional content in order to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which it achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

Late American Spanish school, circa 1300."Virgin as Sedes sapientiae".Carved and polychromed wood.It presents damage caused by xylophagous and leaps in the carving and polychromy.Measurements: 79 x 32 x 29 cm.The carving presents the couple formed by the Virgin with her Son on her lap. It is a carving that follows the typology of the "Sede Sapientiae" or "Throne of Wisdom". Mary, seated facing the viewer, acts as the throne, the seat of Christ, the supreme incarnation of Wisdom. No emotional communication of any kind is established between the two figures, but rather the majesty, the regal aspect of both figures is encouraged. Christ, dressed in a long robe, makes the gesture of blessing with his right hand, while with his left he holds The Gospels. It was also common in medieval carvings that, together with the gesture of blessing, the Child held a sphere, symbol of the totality, of the Universe, which would allude to his condition of "Salvator mundi". Mary, for her part, is depicted wearing a long tunic and cloak that fall in symmetrical folds to the ground. A veil covers her hair, framing her serene and harmonious face. In Christian exegesis, if Eve was the introducer of Sin, Mary is its counter-figure, through whom salvation comes to the human race, thanks to her son, Jesus. Formally, the delicate workmanship of their faces stands out, as well as the soft flesh tones that highlight their cheeks. The remains of polychromy still visible on the Virgin's attire speak of a careful decorative style.Romanesque is the name given to the first great period of medieval art in Europe (the western part), but it is not a uniform aesthetic movement throughout the territory, neither in aesthetics nor in chronology. In the Iberian Peninsula, it is necessary to speak of Visigothic art (from the 5th century until the Muslim conquest, approximately), Asturian art (area of the Principality of Asturias, without Muslim domination, between the end of the 8th and the beginning of the 10th century), Mozarabic art (of the Christians who lived in Muslim territory, from 711 to the end of the 11th century) and not forgetting Islamic Andalusian art, given that, chronologically, we are between the 5th or 5th centuries AD and the 10th or 11th centuries. Romanesque sculpture pursues mainly didactic aims, and its images are conceived as a visual narrative, which must always be clearly legible. At this time, prior to the quest for naturalism that would emerge during the Gothic period, the language is purely conceptual, and functions on the basis of symbols and conventions accepted by all. In this sense, anatomy is synthetic, representative rather than a reflection of the natural, as is the treatment of the face.

DOLORES RODEIRO BOADO (Galicia, 1853-1898)."Saint James the Apostle".Carved and polychrome wood.Measurements: 113 x 47 x 28 cm.The image of Saint James the Apostle, whom we recognise by his attributes such as the book, the wooden reed with the gourds and the shells on the front of his cloak. Aesthetically, the work follows the stylistic precepts of the Baroque, as can be seen in the treatment of the fabrics that make up the tunic, or the volume achieved by the artist in the waist area. However, the face and hair reveal that this is a 19th-century work. Little is known of Dolores Rodeiro Boado's biography. She was one of the youngest daughters of the Compostela sculptor Francisco Mª Rodeiro Permui, an artist who worked in the second and third thirds of the 19th century. Except for a pause in her training when she moved to Madrid in 1884, where she studied Antique Drawing and Antique Modelling at the School of Fine Arts, her artistic education was linked to her father. In 1875 he obtained an Honourable Mention at the Regional Exhibition in Santiago de Compostela, for a Crucifix and a Saint Ignatius of Loyola.James of Zebedee or James the Greater was one of the first disciples to shed his blood and die for Jesus. A member of a family of fishermen, brother of John the Evangelist - both nicknamed Boanerges ('Sons of Thunder') because of their impulsive temperaments - and one of the three closest disciples of Jesus Christ, the apostle James was not only present at two of the most important moments in the life of the Christian Messiah - the transfiguration on Mount Tabor and the prayer in the Garden of Olives - but was also part of the small group that witnessed his last miracle, his resurrection on the shores of Lake Tiberias. After Christ's death, James, passionate and impetuous, formed part of the initial group of the early Church in Jerusalem and, in his evangelising work, he was assigned, according to medieval traditions, the Spanish peninsular territory, specifically the northwestern region, then known as Gallaecia. Some theories suggest that the current patron saint of Spain arrived in the northern lands via the uninhabited coast of Portugal. Others, however, suggest that he travelled along the Ebro valley and the Cantabrian Roman road, and there are even those who claim that Santiago reached the Peninsula via what is now Cartagena, from where he set out on his journey to the western corner of the map.

Circle of FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos, Zaragoza, 1746 - Bordeaux, France, 1828)."Portrait of Charles IV.Oil on canvas. Re-retouched.It presents repainting, old restorations and a Carlos IV style frame from the end of the 19th century with damages.Measurements: 126 x 94 cm; 145 x 113 cm (frame).Dressed in a maroon silk suit, embroidered in silver, the monarch holds the command staff of captain general with his hand, barely visible in the composition, while he rests the other on his waist. The cross and the sash of the Order of Charles III, as well as that of San Gennaro of Naples, hang glittering above his costume. The golden fleece can also be seen. Next to the monarch, an ermine-skinned table supports the royal crown, which is the only element outside the figure of the monarch. The work follows the aesthetic models imposed by Francisco de Goya, who painted several portraits of the monarch. The painting is a reflection of the picture painted by Goya in 1789, which belongs to the Museo del Prado collection and is called Carlos IV de Rojo.It was conceived as a companion piece to the portrait of Queen consort Maria Luisa, both commissioned by the Academy in March. It was Jovellanos who entrusted the task to Goya who, as a court painter, produced several versions of the works. In this particular case, despite the similarities with the Prado work, certain differences can be recognised. Firstly, the large green curtain in this case is reduced to a kind of curtain, where the colour is spread evenly, thus avoiding the marked folds. Furthermore, in this case, the monarch carries the baton of command and a highly decorative waistcoat.Charles IV was King of Spain and of the Spanish Empire from 1788 to 1808. The Spain inherited by Charles IV showed few signs of instability, but during his reign, Spain entered into a series of unprofitable alliances and his regime constantly sought cash to meet the demands of war. His son and heir, Ferdinand, led the failed Conspiracy of El Escorial and subsequently forced Charles to abdicate after the Tumult of Aranjuez in 1808, along with the dismissal of his prime minister Manuel de Godoy. Summoned to Bayonne by Napoleon Bonaparte, who forced Ferdinand VII to abdicate, Charles IV also abdicated, paving the way for Napoleon to place his older brother Joseph Bonaparte on the Spanish throne. However, Charles IV's reign proved to be an important turning point in Spanish history.

Workshop of LUIS DE MORALES "El divino" (Badajoz, 1509 - Alcántara, 1586)."Pietà".Oil on panel.Size: 44 x 30 cm; 51 x 38 cm (frame).The Virgin Mary embraces the inert body of Jesus, with a sad expression; Christ's olive complexion harmonises with his mother's gesture. Despite the fact that Christ is dead, his face retains the signs of torture: his mouth half-open, the drops of blood trickling down his forehead. These features introduce us to the great drama expressed in this image in which a mother picks up the inert body of her son. The artist shows us a concentrated scene, with both protagonists in the foreground, showing the difference between life, which can be seen in the Virgin's tense hands, and death, reflected in Christ's body, which falls under its own weight. This purity and mysticism reveal the influence of Luis de Morales (Badajoz, 1515-1586), whose elegant, schematic style manages to convey the drama in a simple, superbly executed manner. The iconography of the Virgin of Sorrows or Dolorosa does not appear in the Gospels; it is a creation that arose from the exaltation of pathos at the end of the Middle Ages. However, the episode would always take place after the death of Christ, either with her Son on the cross, after the Descent from the Cross (with the body on her lap), or with the pain suffered by a mother in solitude. In this case it is the suffering of the martyrdom and death of her son.Luis de Morales, a painter of great quality and marked personality, is perhaps the best of the Spanish painters of the second half of the 16th century, with the exception of El Greco. His training poses serious problems, although Palomino makes him a disciple of the Flemish painter Pedro de Campaña, who lived in Seville between 1537 and 1563. Certainly the meticulousness and detail of his brushstrokes and the conception of the landscape are Flemish in origin, and most of his iconic themes are of late medieval tradition. But he painted human types and used a colouring and sfumato related to the Lombard tradition of a Bernardino Luini and a Cristoforo Solario, whom he probably met not on a trip to Italy but possibly to Valencia, in order to catch up with the innovations of the Leonardesque Fernando Yáñez and Fernando de Llanos and the Raphaelesque Vicente and Juan Masip. However, the most personal aspect of his painting lies in the tormented, almost hysterical atmosphere in which his figures breathe, more focused on an intense inner life than on action, full of melancholy and ascetic renunciation and characteristic of the climate of tense religiosity imposed in 16th-century Spain by the reform movements, from the less orthodox Erasmianism and Alumbradism to the more genuine mysticism and Trentism. Morales, called the Divine by his first biographer, Antonio Palomino, because he painted only religious subjects with great delicacy and subtlety, reached his peak from 1550 to 1570, when he painted numerous altarpieces, He painted numerous altarpieces, triptychs and isolated canvases that were widely distributed because they satisfied the popular religiosity of the time, although some of his canvases contain quotations and information of literary erudition, the result of his contact with enlightened clients, primarily the bishops of the diocese of Badajoz, in whose service he worked. On the other hand, his presence in the monastery of El Escorial, called by Philip II, is not documented, although it seems that the latter acquired some of his works to give them as gifts. The enormous production and the continuous demand for his most frequent and popular iconographic themes obliged him to maintain a large workshop in which his two sons, Cristóbal and Jerónimo, collaborated; a workshop responsible for many copies that circulate and are still considered to be Morales's autograph works.

Atelier of FRANÇOIS HYACINTHE RIGAUD (Perpignan, 1659-1743)."Portrait of Marie Casimira.Oil on canvas.Size: 130 x 104 cm.The psychological capture of deep character in the look, the point of view represented in the scene, the sumptuousness in the details of the clothes and objects, and the use of the colours between lights and shadows allow us to place the author of this work in an environment close to the school of the great French painter Hyacinthe Rigaud (1659-1743), one of the best portrait painters associated to the era of Louis XIV. He made an outstanding contribution to French painting from 1688 onwards. He was particularly noted for his portrait art, depicting members of the French royal family. Notable, for example, is his famous state portrait of "Louis XIV at Coronation Robes" (1701, Louvre, Paris), one of the finest Baroque paintings of the French court. Rigaud's broad, vigorous style and the way he relied on the nobility of posture and splendour of his models were the basis of his success. Indeed, he is the creator of an original genre, that of the "portrait of pomp" which spread through the European courts of the first half of the 18th century. Examples of his great output can be seen in some of the finest art museums in Europe and North America. For details of other famous artists and master craftsmen active in France during his day, see: French Baroque Artists (c.1600-1700) and French Decorative Designers (c.1640-1792). The pictorial quality of the work is superb. It shows great mastery of the portrait genre. It is thought to have been executed in Rigaud's own workshop, which, due to the multitude of royal and noble commissions at the time, had a large number of artists in its employ who worked on the completion of these portraits. Marie-Casimira Louise De La Grange was known by the nickname of "Marysie?ka". She was born in Nevers (centre of France) on 28 June 1641 and died in Blois (France) on 1 January 1716.) She was Queen consort of Poland and Grand Duchess consort of Lithuania as the wife of John III of Poland from 1674 to 1696. She was the daughter of Henri Albert De La Grange d'arquien and Françoise de La Châtre.

LUIS SALVADOR CARMONA (Valladolid, 1708 - Madrid, 1767)."Saint Joseph with Child".Modeled and polychrome earthenware.It presents losses of the fingers of the Child.Measurements: 43 x 20 x 18 cm; 5 x 10 x 17 cm (base).The present carving shows a very common image during the reformation; Saint Joseph holding the Child in his arms. In the work the artist shows us St. Joseph in a dynamic way, losing the hieratism of previous periods, and a plump and voluminous child, reminding us to a great extent of the work carried out by the sculptor Luis Salvador Carmona, which can be found in the Church of St. Joseph in the Calle Alcalá in Madrid. In contrast to the tenderness, defencelessness and candour of the child figure, St. Joseph is presented as a monumental character, typically baroque, an impression that is reinforced by the pyramidal composition. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector. Until the Counter-Reformation, the figure of St. Joseph was usually relegated to the background, as no theological importance was attached to him. From Trent onwards, however, his leading role as Jesus' protector during his childhood and as a guide during his youth was recovered, and he is depicted here as such. We see the two figures on the road, Joseph taking Jesus by the hand, a boy with blond curls and a rosy face, who looks at him smiling.Luis Salvador Carmona began his apprenticeship in the workshop of Juan Villaabrille y Ron, an outstanding Baroque sculptor. There he developed his style, collaborated on various commissions, and was then able to become independent and open his own workshop in 1731. Most of his production is centred on religious imagery, with clear Baroque references, although certain Neoclassical tendencies can be seen. He worked the figures giving them an appearance of delicacy, serenity and grace, being concerned with the truthful appearance of the human types, although showing them as affable and idealised. He attaches great importance to the expressive function of the clothing and drapery, which he works with great care, sometimes using very fine wooden sheets. In short, he continued the Castilian sculptural tradition in broad outline, but his pieces were simpler, moving away from the grotesque or tragic character that had sometimes predominated in Hispanic Baroque sculpture. Much of his work was produced for Madrid, where the sculptor had his workshop. However, the success and fame of his work led to its dispersal throughout Spain. Part of this fame is due to the work of his nephews Manuel and Juan Antonio, who reproduced some of his sculptures in engravings, increasing their diffusion.

LUCA GIORDANO (Naples, 1634 - 1705)."Apparition of Christ to Constantine.Oil on panel. Marbled back.Measurements: 115 x 64 cm; 131,5 x 80 cm (frame).This is a splendid work by Luca Giordano, an outstanding representative of the Italian Baroque. It is a markedly scenographic composition in which, most probably, the narrative recorded by Eusebius of Caesarea (ca. 263-30-339) in his Vita Constantini is represented. In it he explains how Constantine was marching with his army when he looked up at the sun and saw a chrism in the sky, just before the battle of the Milvian Bridge against Maxentius in 312. At first Constantine did not know the meaning of the apparition, but the following night he had a dream in which Christ explained to him that he should use the sign against his enemies. Giordano depicts the exact moment when Constantine is fast asleep with the soldiers, while Christ appears to him with the Roman labarum, the banner from which the chrismion will hang.Luca Giordano, the most outstanding Neapolitan painter of the late 17th century and one of the leading representatives of the late Italian Baroque, was a painter and engraver known in Spain as Lucas Jordán, who enjoyed great popularity during his lifetime, both in his native Italy and in Spain. However, after his death his work was often criticised for its speed of execution, which was at odds with the Greco-Latin aesthetic. It is thought that he trained in the circle of Ribera, whose style he initially followed. However, he soon travelled to Rome and Venice, where he studied Veronese, whose influence is evident in his work. This trip was key to the maturing of his style, as were the influences of other artists such as Mattia Preti, Rubens, Bernini and, above all, Pietro da Cortona. In the late 1670s Giordano began his large-scale mural decorations (Montecassino and San Gregorio Armeno in Naples), followed from 1682 onwards by other projects, including the mural paintings in the gallery and library of the Palazzo Medici Ricardi in Florence. In 1692 he was called to Madrid to paint murals in the monastery of El Escorial, where he worked from 1692 to 1694. He then painted the office and bedroom of Charles II in the Royal Palace of Aranjuez, and after these he undertook the paintings of the Casón del Buen Retiro (ca. 1697), the sacristy of Toledo cathedral (1698), the royal chapel of the Alcázar and San Antonio de los Portugueses (1699). However, royal commissions ceased with the arrival of Philip V in 1701 and the beginning of the War of the Spanish Succession, and Giordano returned to Naples in 1702, although he continued to send paintings to Spain from there. Today Giordano's works are housed in the most important art galleries throughout the world, including the Prado, the Hermitage in Saint Petersburg, the Louvre in Paris, the Kunsthistorisches in Vienna, the Metropolitan in New York and the National Gallery in London.

Master active in Flanders, first third of the 16th century."Calvary".Oil on oak panel.It has an inventory label on the back from the Wallraf-Richartz Museum in Cologne.It has later gilding and xylophagous remains.It shows repainting and frame.Measurements: 88.5 x 60.5 cm; 99 x 71.5 cm (frame).A delicate trompe l'oeil emerges from the painting, extending Mary Magdalene's mantle and going beyond the limits of the frame. This delicate device accentuates the marked theatricality of this work, which can be seen in the faces and gestures of the protagonists and in the dynamic presence of the angels who complete the scene. Compositionally, the work is structured through strict symmetry, showing the main subject in the foreground, while in the background a landscape unfolds, crowned by architecture on each of the flanks, and by a mountain range in the centre. Returning to the foreground, it is worth noting the painstaking detail of the angular cloths that make up the garments of the protagonists, the Virgin's veil billowing in the wind, as well as the angels' cloaks in the upper area, the damask of the cloth and the book carried by Saint John, details that denote the great technical, detailed and precious quality of the Flemish school and which recall compositions by great artists such as Van Groot, the master of the Flemish school.The author has chosen a work with a devotional theme, depicting the Crucifixion of Christ, accompanied by the Virgin, Saint John the Evangelist and Mary Magdalene at the foot of the Cross, an iconographic form evolved from the original Byzantine Deesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred as a narrative scene, and the figure of John the Baptist was replaced by that of John the Evangelist. This image, in its conception and form, is the result of the expression of the people and their deepest feelings. The composition of the present work is based on the artist's faithful rendering of the Gospel text, which is why all the figures are clearly represented. During the 15th century, the influence of the Flemish school of painting was a key factor in the development of European art. At that time, Flemish painters established a stylistic model based on the search for reality, focusing on the rendering of the qualities of objects, giving special importance to secondary details and using a smooth, draughtsmanlike technique. In the 16th century, as a result of the introduction of the novelties of the Italian Renaissance, the Flemish style evolved towards a more classical and sculptural style, while retaining its own characteristics.

Flemish or Italian master; mid-17th century."Scene from the Commedia dell'Arte".Oil on canvas. Re-tinted.Attached pictorial analysis issued by Icono, I&R, restoration and technical studies of easel painting.It has an export permit and condition report issued by Icono Restauración.It has restorations.Measurements: 116 x 144 cm.During the 16th century most of the painting reflected biblical themes, in which the authors approached the stories of the gospels to the spectators through the clothes of the models, who adopted attitudes contemporary to the time. The uniqueness of this work lies in the fact that the subject matter is based on popular reality and everyday life. However, it is not the typical tavern scenes, where the different strata of society were represented, but is dedicated to the theatre. Specifically to the Comedia Dell'arte", an enlightening fact, since during this historical period the artistic genres were more closely linked than ever before. The characters we see are archetypes taken from the aforementioned theatrical genre, in fact, we can recognise the figure of Coviello, located in the foreground on the right, while the central characters, who appear without masks and stand out for their soft, gentle and youthful features, could represent Florindo and Rosaura, a couple in love who are common in the performances of the "Comedia dell'arte".The figures in the scene seem to show a specific moment that has been captured by the viewer in the manner of a photograph. Their expressive gestures, the way they interact and the emotion on their faces distance this painting from the forced stagnation of the figures common in Flemish painting of the period, thus revealing the Italian influence. One feature that reveals the great complexity of this painting is the composition, in which the artist plays with an apparently simple frieze-like arrangement in which he introduces a typically Baroque cross or crossbrow that enhances the dynamism of the scene, leaving the central figures in the centre to take centre stage. Despite the great profusion of figures and their monumentality, the artist introduces a sense of spatiality that is particularly reflected in the arrangement of the still life in the foreground. This still life reflects the painter's technical skill in capturing with great realism the casserole with the milk or, for example, the eggs hanging on Coviello's chest. Even the presence of the cat, who is the only character who remains static, but is nonetheless humanised through the detail of the collar. The lighting is clearly reminiscent of Caravaggist painting, which also dealt with this type of subject matter, as did other painters such as Jan Cossiers and Johan Liss.

FERGUSON (JAMES)The Astronomical Rotula Shewing the Change and Age of the Moon, the Motion of the Sun, Moon and Nodes, with all the Solar and Lunar Eclipses, 5 sheets engraved by J. Mynde after Ferguson, comprising 4 volvelles over a circular scale, working with central thread intact, cut square to size of scale sheet (just within platemark on sides, not touching printed area), slightly frayed at margins, 320 x 320mm., c.1739Footnotes:SCARCE 'ASTRONOMICAL ROTULA' invented and designed by the Scottish scientific instrument maker James Ferguson (1710–1776). Designed to demonstrate the motions and positions of the sun and moon, including the dates when the moon's path crossed the earth's orbital plane and hence the dates of solar and lunar eclipses. Ferguson had 'sent a description to Professor Colin Maclaurin, who suggested a slight correction and volunteered to organize a subscription to enable it to be engraved and published' (ODNB). It is calculated to show the days of all the new and full moons from the years 1752 until 1800.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

GOULD (JOHN)A Monograph of the Macropodidae, or Family of Kangaroos, 2 original parts (complete), FIRST EDITION, 30 hand-coloured lithographed plates by H.C. Richter after Richter or Gould, letterpress slip inserted at end, light spotting to several plates, publisher's cloth-backed printed boards, light soiling, corners rubbed, old paper label ('Lot 37') pasted on upper cover of Part I [Ferguson 3197; Nissen ZBI 1662; Sauer 11; Wood p.365], folio (560 x 380mm.), Published by the Author, 1 August 1841-1 May 1842Footnotes:Rare first edition in the original parts, as issued without a title page, preliminaries or index. Gould intended to include these in the planned final third part, which was never published. Gould had travelled to Australia with his wife Elizabeth (who tragically died in the month the first part of 'Kangaroos' was published) in 1838, spending eighteen months collecting hundreds of specimens and observing the birds and mammals of the region. On his return he published this work, and, over a period of eight years his Birds of Australia.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

CROMWELL (OLIVER)Commission signed as Lord Protector ('Oliver P.' at head), appointing John Pollen to the position of Quartermaster '...of that Troope of Horse whereof Captain Thomas Monins is Captain...' in the county of Kent; docketed on reverse 'Oliver Lord Protector/ giveth the Commission/ of/ Quarter Master/ to John Pollen/ under/ Captain Monins', on vellum, dust-staining, some fading and spotting, creased at folds, pin holes to left and right edges, 265 x 352mm., 'Given att White Hall the 28th day of May 1655'Footnotes:The Monins family can trace their roots in the county of Kent to the time of the Conquest and became substantial landowners. The family rose in importance and office, providing several mayors of Dover and Lieutenants of Dover Castle as well as three MP's. Captain Thomas Monins of Dover, to whom this commission is addressed, had, from 1644 to 1649 held the appointment of Treasurer-General, with responsibility of overseeing the revenues sequested by Parliament from the Deans and Chapters of England's cathedrals. However, despite acting for the iconoclasts, he is widely credited with saving Canterbury cathedral and its treasures from destruction, although at the Restoration it required the sum of 12,000l to restore it to full usage: '...it is certainly owing to him, who appears to have been a royalist in his heart, that this venerable building was preserved from destruction, for he caused it to be maintained and repaired constantly... on his being removed from that office, was made a captain of a troop of horse, which he held till the restoration, when he petitioned the King, in regard to his having ever favoured the royalists, and prevented much ill usage to them from time to time; for his having preserved this cathedral from ruin... and for his having secreted the church muniments and plate, and restored them at the restoration, that he might be permitted to keep his troop of horse, but for reasons, best known at that time he was not permitted to do it...' (Edward Hasted, The History and Topographical Survey of the County of Kent, 1799, Vol. IV, p.518-519, v.)Provenance: Captain Thomas Monins; thence by descent.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

D. (G.)A Briefe Discoverie of Doctor Allens Seditious Drifts, Contrived in a Pamphlet Written by Him, Concerning the Yeelding Up of the Towne of Deventer (in Ouerrissel) Unto the King of Spain, by Sir William Stanley, A1v with full-page woodcut of St. George and letter 'A' on recto, woodcut ornament on title, ink word 'Perfect' in upper blank margin A1v, upper fore-corner of A1v and title repaired, early nineteenth century half calf over marbled boards, gilt lettered on spine, loss to upper headband, rubbed [ESTC S109186], small 4to, I.W. for Francis Coldock, 1588Footnotes:Provenance: John Ratcliffe (1707-1776, book collector). 'The word Perfect over figure of St. George in the the hand of Ratcliff, who possessed a capital library of old & curious black letter books. He was a retail dealer in coals in London; his books were sold by Christie [sic] above 20 years ago - Oct. 24. 1807', pencil note on front free endpaper. His 'entire collection was sold by Christie's on nine successive evenings, beginning on 27 May 1776... the library was sold in 1675 lots, many of them comprising up to 100 items. It was particularly strong in the productions of early English printers and in books of the sixteenth century' (ODNB). For a similar manuscript inscription ('Perfect') by Ratcliffe see a copy of Ambrosius, Expositio in evangelium, 1476, Glasgow University Collection, website.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

NAVAL – MISCELLANYGroup of miscellaneous correspondence from Naval commanders, taking in the French Revolutionary Wars, the Rio de Janeiro station and the discovery of the descendants of the Bounty mutineers on Pitcairn, comprising: Autograph letter signed ('Hood') to 'My dear Sir', sending best wishes on his voyage, informing him that 'The instructions respecting the Ariel will be dispatched to you by a messenger tonight', and discussing the appointment of Mr Fraser who is to be Lieutenant, and others, 2 pages on a bifolium, some staining, 4to (234 x 190mm.), Admiralty, 3 February 1789Autograph letter signed ('Howe') to Isaac Heard Esq, Garter King of Arms ('Sir'), acknowledging his congratulations for his great victory against the French fleet on the 'Glorious First of June', one page, stained, 4to (243 x 194mm.), Portsmouth, 18 August 1794Near contemporary copy of Sir Thomas Staines' despatch to the Admiralty reporting his unexpected discovery of Pitcairn Island and his encounters with the descendants of the mutineers of the Bounty; with later notes and pen trials in another hand, 2 pages, dust-staining and marks, tears at folds, frayed with some losses, folio (415 x 330mm.), 'Briton, Valparaiso, 18 October 1814'Autograph letter signed ('Henry Hotham') to Admiral Lord Keith ('My dear Lord'), marked 'Private', reporting on the ships in the Gironde ('...the White Flag being established in all the Ports...'), going on '...Since the troops who have acted under the tricolor flag have been withdrawn from the country & La Vendee, the Royalists have drawn larger supplies of arms than before... I have reason to suspect that some part of the articles they have received from us have been and will be put to their private uses and amusements...', concluding '...The White Flag flies everywhere around this bay, and at L'Orient...', 4 pages on a bifolium, dust-staining particularly on verso where folded and exposed, creased at folds, 4to (230 x 185mm.), 'Superb, Quiberon Bay', 26 July 1815Copy letter signed ('Jn Barrow') to Rear Admiral Sir Michael Seymour, marked 'Duplicate', enclosing a copy of a letter from the Under Secretary of State and two extracts from despatches received from His Majesties Consul General in Peru complaining of the lack of protection offered to British subjects and commerce by His Majesty's ships in the Pacific [present], 20 pages, light dust-staining, one report held with silk thread, folio (315 x 200mm.), Admiralty, 23 August 1834; with copies of nine official letters, engraved with manuscript insertions, one manuscript, all signed by Sir John Barrow ('Jn Barrow') to Rear Admiral Sir Graham Hamond, Commander in Chief at Rio de Janeiro, enclosing in each case a printed memorandum for distribution to the captain of each vessel under his orders, c.19 pages on bifolia, Britannia watermarks, folio (315 x 195mm.), Admiralty, 23 October 1834 to 28 January 1836Footnotes:'THE WHITE FLAG FLIES EVERYWHERE AROUND THIS BAY AND AT L'ORIENT': Admiral Sir Henry Hotham writes from Quiberon Bay on the surrender of the French; Viscount Howe acknowledges a letter of congratulations from the Garter King of Arms after his great naval victory; explorer and Secretary to the Admiralty John Barrow oversees British interests in South America; and Sir Thomas Staines reports on the discovery of the descendants of the Bounty mutineers.The copy of the Staines despatch was found among the papers of Dr. George Bellamy, naval surgeon and later Mayor of Plymouth from 1811-12 (the Briton had arrived in Plymouth in April 1815). The later comments on the manuscript may well be his. Thomas Staines (1776-1830) was not the first to discover the mutineers, that credit went to Captain Mayhew Folger of Nantucket on the Boston sealer Topaz who had landed in Pitcairn in October 1808, eighteen years after the mutiny. A Narrative of the Briton's Voyage to Pitcairn Island by its first Lieutenant, John Shillibeer, was published in 1817.For further information on this lot please visit Bonhams.com

GOETHE (JOHANN WOLFGANG VON)Autograph sentiment signed ('J.W.v. Goethe'), the second stanza of the poem 'Ilmenau', comprising six lines written in Sütterlinschrift beginning 'Wie kehrt ich oft mit wechselndem Geschicke...' ['How often I return with changing fortunes...'], one page, light dust-staining, remains of red wax seal, one small pin hole not affecting text, remains of marbled paper on reverse where previously mounted, mounted and framed, unexamined out of frame, oblong 8vo (150 x 210mm., with frame 405 x 405mm.), [3 September 1783]Footnotes:'WIE KEHRT ICH OFT MIT WECHSELNDEM GESCHICKE, ERHABNER BERG!'Ilmenau was a private poem written for the twenty-sixth birthday of Karl August, Duke of Saxe-Weimar-Eisenach (1757-1828) on 3 September 1783. In it the Duke escapes courtly society and his wild past into a dream world of the beautiful valley of the Ilm, the poet hoping that he will soon develop his true nature, thus referencing his own 'Sturm und Drang' period. As Goethe explained to Eckermann in his Conversations of Goethe: '...'The poem of 'Ilmenau'... contains, as an episode, an epoch which, in the year 1783, when I wrote it, had happened many years before, so that I could describe myself in it as an historical personage, and could hold a conversation with the self of former years... the Duke soon worked himself out of this 'storm and stress' period into a state of useful clearness, so that on his birthday, in the year 1783, I could well remind him of this image of his earlier days... I will not deny that in the beginning he caused me much trouble and anxiety. Yet his noble nature soon cleared itself, and formed itself to the highest degree of perfection, so that it was a pleasure to live and act with him'...' (23 October 1828). According to Ronald Gray, after a lively and promising start with some reminders of the youthful Goethe, the poem transitions rather unsuccessfully in style and content '...where the peasants and miners who were leading miserable lives at the beginning of the poem are suddenly said to be fully employed and contented. In the end, Goethe seems more concerned to make a tactful suggestion to the Duke about the running of his estates than to pursue his deeper problems any further... Despite several pleasing and amusing passages, Ilmenau marks the beginning of a period when Goethe would only rarely write poetry of distinction...' (Gray, R., Poems of Goethe: A Selection, 1966, p.66).Goethe had been invited to the court at Weimar in 1775 after the success of his first novel The Sorrows of Young Werther and was to remain there for the rest of his life. He held a succession of offices including Commissioner for Mines and Highways which required him to regularly visit the small mining town of Ilmenau, from where he was able to escape into the mountains, away from the pressures of his duties. The surrounding landscape inspired one of his most famous poems, Wanderers Nachtlied which he wrote hurriedly on the walls of a wooden hut on the Kickelhahn mountain, a work which epitomises his love of the natural world and the local landscape.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

TARLETON (SIR BANASTRE) – COMMONPLACE BOOKAutograph poem signed 'Banastre Tarleton' and dated 'January 1825' entitled 'Susan's Abode', comprising eight lines on his house in Lintwardine beginning 'The young, the old, the poor combine, To welcome thee to Lintwardine...' and illustrated by a pen and ink sketch of the house, written in a commonplace book dedicated to 'To/ The Lady Willoughby/ from/ Banastre & Susan Tarleton', with ownership inscription 'Priscilla Tarleton', containing poems and other writings in several hands including that of Susan Tarleton and Banastre Tarleton, a number of verses and illustrations initialled 'B.T.' including a tribute to the late Robert, 4th Duke of Ancaster and Kesteven ('...An eye witness of his conduct in America submits this inadequate testimonial to the noble family of Grimsthorpe Castle...'), also including tributes to Lady Willoughby and the Marchioness of Cholmondeley, 'An acrostic written in a storm on the 8th of February 1816... to the Baroness Willoughby de Eresby, on her birthday...', 'Lines supposed to be written at Waterloo', 'To Lady Tarleton', 'On Women', interspersed with historical notes on the great deeds of the Willoughby family and copies of verses by Byron, Burns, Lady Caroline Lamb, Moore, Scott, Mary Tighe and others; illustrated throughout with some 50 pen, ink and watercolour illustrations and delicate vignettes by the Tarletons to complement the verses, including a decorative floral and foliate frontispiece dedicated to Lady Willoughby depicting her portrait surrounded by putti holding the accoutrements of the Arts, c.130 leaves (c.40 blank), watermark W Turner & Son, a few minor tears and offsetting, contemporary russia blindstamped and gilt with etched brass clasp, silk endpapers, g.e., rebacked preserving original spine, 4to (225 x 180mm.), c.1820'sFootnotes:'THE YOUNG, THE OLD, THE POOR COMBINE, TO WELCOME THEE TO LINTWARDINE': A fine commonplace book of verses and drawings, a joint collaboration between Sir Banastre Tarleton (1754-1833), notorious army officer and politician, made infamous through his exploits in the American Revolutionary Wars as leader of the 'Tarleton Raiders', and his wife Priscilla Susan Bertie Tarleton (1778-1864), fondly dedicated to Priscilla Tarleton's aunt Lady Willoughby,Banastre Tarleton married Priscilla Bertie, the wealthy illegitimate daughter of his friend Robert Bertie, 4th Duke of Ancaster and Kesteven and 20th Baron Willoughby de Eresby (1756-1779), after a whirlwind romance in 1798. After having gambled away his inheritance, Tarleton had purchased a commission in the 1st Dragoon Guards and served with Bertie during the occupation of Philadelphia in the American Wars of Independence, where his ruthless reputation earned him the sobriquet 'Bloody Ban'. When Bertie died young at the age of 22, the young Susan was taken in by her paternal grandmother, Mary Bertie the dowager Duchess of Ancaster and Kesteven at Grimsthorpe Castle. A sketch of the castle accompanied by a verse titled 'An Epilogue' comprises the first item in the book. The couple met in 1798 at Houghton Hall in Norfolk then, as now, the seat of Lord Cholmondeley, Susan's uncle by marriage, and were married three months later. Well-educated, pretty, accomplished in drawing, music and languages, reckless in many ways but disapproving of drinking and gambling, she was a vivacious and popular member of London society. Her marriage to the virtually penniless soldier older than her own father and with a notorious reputation raised many eyebrows at the time but their thirty-five year marriage stood the test. She accompanied him to Portugal, Ireland and throughout postings in England until his retirement and they ended their married life at Leintwardine in Herefordshire, which features several times in our book as an earthly paradise ('...A ray of heav'nly light is thine, Seen in thy works at Lintwardine...'). Their fondness for each other is also evident in several of the verses –- in 'To Lady Tarleton' he writes 'By ambition tormented, by fortune sore crossed/ Without little Sue, I had paradise lost/ Although deep sunk in debt, yet my fame was unstained/ And winning Sweet Susan, I paradise gained/ B.T.', but a flash of the old rake is still evident in his verse 'On Women' - 'You are stars of the night, you are gems of the morn... Her smile is our need, or her bosom our pillow' he writes.As the ownership inscription shows, Susan Tarleton often varied the use of her names. Whilst official documents, including the parish records of her birth and marriage, give it as Susan Priscilla, she also used Susan or Priscilla, as in this volume. Her drawings are highly accomplished and she is also known to have contributed illustrations to be engraved for an anthology of Romantic poetry The Wild Wreath (1804) by Mary Elizabeth Robinson, the daughter of her husband's ex-mistress Mary (Perdita) Robinson. Despite losing two fingers from a musket ball received in his right hand during the Battle of Guildford Courthouse in North Carolina, Banastre Tarleton also appears to have lent his artistic talents to our volume, with many illustrations initialled 'B.T.'. Our volume would appear to be presented to Susan's aunt, Priscilla Barbara Elizabeth Bertie (1761-1828) who became 21st Baroness Willoughby de Eresby in 1780 after her brother Robert's death. It contains many historical tributes to the Willoughby and Bertie families and references the family name in a finely-drawn frontispiece. Susan's other aunt Georgiana Charlotte Bertie (1764-1838) married George Cholmondeley, 1st Marquess of Cholmondeley at whose country seat she met her future husband. It was through this marriage that the Cholmondeleys acquired the hereditary office of Lord Great Chamberlain which had been previously been held by Robert Bertie.Provenance: Private UK 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

SHAKESPEARE (WILLIAM)Mr William Shakespeare his Comedies, Histories, and Tragedies, [edited by Edward Capell], 10 vol., half-title to each play, contemporary red morocco, sides with triple gilt rule borders, ornate gilt panelled spines with floral and griffin tools and black labels, g.e., spines worn at ends, 8vo, Dryden Leach for J. & R. Tonson, [colophon:] 1768Footnotes:Relatively scarce edition edited by Edward Capell, who was the first person to put together a wholly new edition from all the quarto and folio ones.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

[MONTAGU (ELIZABETH)]An Essay on the Genius of Shakespeare compared with the Greek and French Dramatic Poets, with remarks upon the Misrepresentations of M. de Voltaire, PRESENTATION COPY FROM THE AUTHOR TO ELIZABETH VESEY, inscribed 'Eliz Vesey - gift of the author' on verso of contents leaf, second edition, minor offsetting to title page, slight foxing and age toning, contemporary marbled calf, gilt tooling to covers, spine in six compartments with raised bands, floral gilt decoration and gilt title to spine, g.e., hinges starting, minor wear to covers and corners, 4to, London, 1770Footnotes:Elizabeth Montagu (1718-1800) was a British author, celebrated salonnière and literary critic who published two works in her life time. The present work was first published in 1769. Alongside other high society women, in the 1750s she founded, led and organised the Blue Stockings Society - a women's movement focussed on female education and mutual cooperation. The addressee of the dedicatory manuscript inscription on the verso of the contents page is Elizabeth Vesey (1715-1791), a close friend of the author and renowned Irish intellectual who, alongside Elizabeth Montagu, founded and fostered the Blue Stockings Society.Provenance: Colonel Vesey, bookplate; William Marchbank, 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

PANKHURST (CHRISTABEL)Autograph extract signed ('Christabel Pankhurst') from her article 'Broken Windows' published in Votes for Women: 'There are in every community people who are a law unto themselves... criminals and reformers... They differ only in their motive. The criminal breaks the law to the injury of the State and for his own profit: the reformer breaks the law to his own injury, but for the salvation of the state', one page on a bifolium, 8vo (167 x 120mm.), 21 November 1910; with a printed copy of the whole article [published 1912] and a printed handbill, The Conciliation Bill Explained, outlining the main points, both published by The Woman's Press (3)Footnotes:'THE REFORMER BREAKS THE LAW TO HIS OWN INJURY BUT FOR THE SALVATION OF THE STATE': Christabel Pankhurst justifies direct action to change public opinion after 'Black Friday', a turning point for suffragist militant protest.This article followed the so-called Black Friday protests of 18 November 1910 in which over 300 women marched on the Houses of Parliament in protest against the attempts of the Asquith government to undermine the Conciliation Bill, which would have given about a million women of property the vote. In January 1910, Emmeline Pankhurst had announced the suspension of all militant campaigning in anticipation of the bill becoming law but, with Asquith calling an election thus precluding any further discussion of the Bill, the WPSU furiously resumed their former tough stance. The suffragettes met with brutal aggression from the police and hostile crowds, and this treatment acted as a catalyst for direct action, resulting in the use of more extreme tactics such as window smashing, arson and bombings. On 22 November around 200 women joined Pankhurst and her sister Mary Clarke on a march on Downing Street, resulting in the destruction of government property and several arrests.Provenance: The Hankinson-Goode Woman's Suffrage Collection.For further information on this lot please visit Bonhams.com

PANKHURST (EMMELINE)Autograph album containing the signatures of Emmeline Pankhurst ('Can man be free if woman be a slave?/ (Shelley)/ E. Pankhurst') and Ramsay Macdonald ('A man's a man for a' that/ J. Ramsay Macdonald') on the same page, together with leading members of the women's suffrage and socialist movement such as Ethel Annakin Snowden ('With kindest greetings/ Ethel Annakin Snowden'), Philip Snowden ('The man of independent mind is king of men'), social reformer and suffragist Isabella O. Ford, Nellie Alma Martel, Arthur Henderson, John J. Macpherson, John Hodge and others, c.68 leaves (34 blank), red calf gilt, worn, upper cover calf detached, loss to spine, small 8vo (100 x 160mm.), [c.1905-1906]Footnotes:'CAN MAN BE FREE IF WOMAN BE A SLAVE?': Album containing signatures of leading members of the women's suffrage, trade union and labour movements in Manchester collected by the daughter of Labour M.P. John Hodge.There is no ownership inscription in the album but internal evidence suggests it is likely to have belonged to Margaret Hodge, eldest daughter of Labour M.P. John Hodge (1855-1937). Hodge was an active supporter of the women's franchise movement and knew the leading lights of the WSPU in Manchester including the Pankhursts and Isabella Ford. In 1903 a deputation asked him him to introduce a women's franchise bill in parliament if he was successfully elected (see Reid, C. The Origins & Development of the Independent Labour Party in Manchester and Salford, 1880-1914, 1981, doctoral thesis online). Margaret's father's political connections would thus explain how she had access to the influential names represented here and she is known to have accompanied him to meetings, including to hear Churchill speak in July 1904 (Reid, p.907). According to the census, Margaret was 15 years old in 1901 and would therefore be around 20 or 21 when the book was signed, shortly after her father was elected M.P.Among the names gathered here are, notably, Emmeline Pankhurst, founder of the Women's Social and Political Union, who shares a page with future Prime Minister and then Secretary of the Labour Party Ramsay Macdonald, Ethel Snowden, a leading campaigner for women's suffrage and her husband Philip, the first Labour Chancellor of the Exchequer. Also included is Isabella Ormston Ford who was the first woman to speak at a Labour Representation Committee conference in 1903. The entries by the Snowdens and Isabella Ford are dated 20 February 1906, just five days after the Labour Representation Committee formally decided to adopt the name 'The Labour Party', and the day after the first march on the Commons organised by the WSPU and seen by Emmeline Pankhurst as the real beginning of the militant women's suffrage movement.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

STANSFELD (JAMES)Illuminated manuscript address 'To the Right Hon. James Stansfeld, G.C.B., M.P.' by Goodall & Suddick of Leeds, 7 full-page illustrations (arms of the City of Halifax and 6 bunches of flowers), opening leaf with Stansfeld arms and motto, 5 pages of text within decorative ruled borders, initials gilt and outlined in pale blue, all on thick album leaves, SIGNED AT END BY 20 FEMALE REFORMERS, 2 further signatures pasted in, occasional light soiling, dark brown morocco by Goodall and Suddick, gilt lettered on upper cover, silk doublures, 4to (255 x 195mm.), [?October 1895]Footnotes:'OUR DEMAND THAT MARRIAGE SHALL NO LONGER BE STAMPED WITH THE BRAND OF LEGAL DISABILITY': twenty-two key figures express their gratitude to Sir James Stansfeld. Stansfeld (1820-1898) was a Radical and Liberal politician and social reformer, who championed the cause of women's rights. 'You were the first Minister of the Crown to set the example of employing a Woman in the higher range of an Administrative Government Department. In the beginning of our struggles for the Medical Education of Women, led by our colleague, Sophia Jex-Blake, you espoused our cause... English wives must have the same electoral freedom which is claimed for the unmarried.'Signed by Josephine E. Butler, Ursula M. Bright, Florence Fenwick Miller, Jessie White Vedova Mario, Jane Cobden Unwin, Sophia Jex-Blake ('Sophia Jex-Blake M.D.'), Priscilla Bright McLaren, Eliza Wigham, Anna M. Haslam, Isabella M. Tod, Esther Blakey, Jane Eleanor Crossley, Ellen Edmondson, Mary Ann Priestman, Mary J. Rowntree, Maria Richardson, Alice Cliff Scatcherd, Celia Walker, Elizabeth Woodhead, Ellen E. Waite, Linda Villari, and Elizabeth James (these last two pasted in).The Women's Library at LSE holds the records of the James Stansfeld Memorial Trust, including papers regarding the presentation of the Women's Testimonial to James Stansfeld in 1895.Provenance: The Phyllis & Jim Bratt Woman's Suffrage Collection, purchased at a postcard fair in York in 1994.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

INDIAANDERSON (JOHN CORBET) To India and Back by the Cape. By a Traveller... Subscriber's Copy, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Joseph Menear from the Author, with very kind regards and best wishes for himself & family, Sutton, Surrey, October 7th, 1875' on the title-pages, list of subscribers, 19 lithographed plates with tissue guards, illustrations in the text including a map hand-coloured in outline, opening gathering working loose, light dampstain to one corner of approx. 10 plates, 3 with short marginal tear, publisher's blue pictorial cloth gilt, g.e., corners worn, some loss to spine [Abbey Travel 524; Mendelssohn IV, p.510], 4to, Croydon, John C. Anderson, 1859Footnotes:Author's presentation copy of his self-published guide book for travellers to India, dedicated to 'widows and orphans of English soldiers who have fallen... upon the plains of Hindostan', and illustrated with fine views including Ceylon, Madras, Calcutta, Bombay, Mauritius, Madeira and Tristan da Cunha.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

'VOTES FOR WOMEN' BANNERBanner stencilled with the legend 'WSPU/ VOTES/ FOR/ WOMEN' in white paint, black glazed canvas, folded at edges, old nail holes around edges where previously mounted, worn with holes, tears and losses, c.575 x 1004mm., [early twentieth century]Footnotes:'WSPU/ VOTES FOR WOMEN': A rare survival of a handmade WSPU campaign banner.Made of hard-wearing canvas material, the nail holes and wear around the edges of this banner indicate that it was mounted on a board or frame, possibly for attachment to a vehicle. Contemporary photographs show such banners mounted on the front or sides of carriages, buses or motor cars, which were all put to good use to advertise the cause. Reports in Car Illustrated magazine of 1906 applauded certain suffragettes who chose to drive to court, whilst commenting 'The ladies showed good sense, though perhaps a little inconsistency, by putting a man at the wheel!'. The same magazine covered a Votes for Women demonstration in 1907 where around 20 motor vehicles were observed in the procession bearing similar banners (www.nationalmotormuseum.org.uk). Whilst its early history is unclear, according to the present owner the banner was displayed at the Taggs Island Museum near Hampton, Surrey in the 1960's and in the History on Wheels exhibition at Syon Park which opened in April 1973 (see 'Veteran Edwardian Vintage: Museums in London', Motor Sport, June 1973, p.55). The banner had been passed down in the same family until purchased by the present private collector.For further information on this lot please visit Bonhams.com

'VOTES FOR WOMEN' SASHOriginal 'Votes for Women' tri-coloured suffragette sash, woven in purple, green and white with 'Votes for Women' printed in blue on central stripe on front and reverse, hook for banner pouch and hook and eye fastening stamped 'Nicklin's', colours strong, a few brown marks to white areas, 104mm. wide, overall length 1180mm., folded, c.1908Footnotes:Emmeline Pethick Lawrence introduced purple (for dignity), white (for purity) and green (for hope) as the colours for the Women's Social and Political Union at the Hyde Park Rally of 21 June 1908, the sashes designed by Sylvia Pankhurst clearly visible against the suffragettes' white dresses. The sashes were originally woven by Toye & Co. of Birmingham, who had a large female workforce, and became an essential part of the suffragette uniform. Suffragette accoutrements were retailed through a network of independent shops and department stores such as Selfridges which opened its doors in the same year.According to a copy of a letter of provenance, the sash belonged to a Scottish suffragette by the name of Miss Rose of Wick in the Highlands of Scotland. It has not been possible to ascertain her identity beyond that, but there are references in Votes for Women of a Miss Rose speaking in Glasgow and Edinburgh, and the same name is included in a list of twenty speakers who shared six platforms at a joint demonstration of suffrage and trade union movements at Alexandra Park, Manchester on Saturday 8 October 1910.For further information on this lot please visit Bonhams.com

WSPU INSIGNIASpeaker's ribbon, woven in purple, green and white with the word 'Speaker' and the letters 'NWSPU' encircled by a gilt metal laurel wreath, topped with a purple and green bow, original pin stamped with maker's mark [indistinct], red oval manufacturer's sticker 'Toye & Co. 57 Theobalds Rd, London' on cardboard label on reverse, some browning and marks; with a length of silk ribbon in the suffragette colours, several tiny pin holes, marked, 55mm. wide, c.1340mm. long, c.1908 and later (2)Footnotes:According to a letter of provenance accompanying the lot, this rare speaker's insignia had been in the possession of a Miss Rose of Wick in the Highlands of Scotland. It has not been possible to ascertain her identity beyond that but there are references in Votes for Women of a Miss Rose speaking in Glasgow and Edinburgh, so it is likely that the insignia did belong to her as a prominent speaker. Her name is also included in a list of twenty speakers who shared six platforms at a joint demonstration of suffrage and trade union movements at Alexandra Park, Manchester on Saturday 8 October 1910. The ribbon can be dated to a period of a few years after 1908, when the WSPU colours of green, white and purple were adopted, and during the time when the WSPU had split into the Women's Freedom League (WFL) under Charlotte Despard and the National Women's Social and Political Union (NWSPU) under the leadership of the Pankhursts and Pethick-Lawrences.The formation of the Women's Social and Political Union by Emmeline and Christabel Pankhurst in 1903 had galvanised the cause of suffragism in Scotland. Activists from both the more peaceful arm of the suffrage movement, the NUWSS, and the militant WSPU undertook campaign tours of the Highlands, addressing meetings in the smallest villages as well as larger towns such as Perth and Aberdeen (see Leneman, L., The Women's Suffrage Movement in the North of Scotland, article online). The town of Wick had been affiliated with the Edinburgh National Society for Women Suffrage since the tour of Jane Taylour and Agnes McLaren as far back as 1871. On 16 September 1910, Emmeline Pankhurst spoke to a capacity audience of over 800 at the Rifle Drill Hall at Wick, as part of an extensive Highland tour designed to 'to extend the influence of the movement and to clear up many misunderstandings...' (Votes for Women, 16 September 1910). The meeting was organised by Miss Bemner and the 23 September issue of Votes for Women carried a report of the meeting thus: 'The Territorial Hall was packed with curious and eager faces. Mrs Pankhurst had a splendid welcome, and spoke magnificently. The audience was fairly astounded. Questions came pouring up, and the audience was delighted with Mrs Pankhurst's answers'.For further information on this lot please visit Bonhams.com

BURRA (PETER)Association and review copies, literature, poetry, music, drama and periodical works from the library of Peter Burra, including:BURRA (PETER) Baroque and Gothic Sentimentalism, Burra's copy, initialled 'PJSB', Duckworth, 1931; [as editor] Farrago, 6 parts in 2 vol., rare bound issue, initialled 'PJSB', contributors including Evelyn Waugh, Max Beerbohm, Rex Whistler, Desmond Shawe-Taylor, Richard Crossman, Goronwy Rees and Edward Burra, publisher's cloth-backed boards, Oxford, Simon Nowell-Smith, 1930-1931; another set, in 6 original parts, including the rare prospectus announcing No. 4, with designs by Oliver Holt, untrimmed in publisher's pictorial wrappers; E.M. Forster: An Appreciation, loose proof sheets, dated in ink '22.10.34' and marked 'URGENT', with editorial annotations; idem, reprinted in: The Novels of E.M. Forster, inscribed 'T[homas] Balston, with good wishes from PJSB'' (Balston was one of Duckworth's directors who championed Burra), Reprinted by kind permission of... The Nineteenth Century and After, November 1934; Van Gogh [Duckworth Great Lives series], Burra's proof copy, 1934; idem, FIRST EDITION, inscribed 'To Moo [Burra's mother] with lots of love from Peter'; idem, another copy, inscribed 'To A.S. Hartrick in gratitude for the testimony of a witness, from Peter Burra, March 1934'; Wordsworth, FIRST EDITION, inscribed 'Nell [Burra's twin sister] with lots of love from Peter, March 1936', Duckworth, 1936--The Lancing Miscellany, 6 issues in 1 vol., includes poems by Burra, initialled 'PJSB' in several places and signed by the publisher Simon Nowell Smith, 1926-1928; idem, 12 loose issues dated 1926-1930, plus June 1937, containing the obituary following Burra's death in a flying accident, this issue spotted--A Book of Lancing Verse, contains 2 poems by Burra, 'The New Birth' (1927) and 'The Wishing Well' (1928), signed by Burra's mother 'Ella, Xmas 1928', 1928--Oxford Poetry 1930, edited by Stephen Spender, contains Burra's poem 'The Season'', initialled 'PJSB', Blackwell, 1930--HOLZMAN (ALBERT) Family Relationships in the Dramas of August von Kotzebue, with Burra's autograph research notes, Princeton University Press, 1935PEARS (PETER) Armenian Holiday August 1965, Pears' diary account of a holiday with Benjamin Britten, sent to Nell Moody [Burra's twin sister] and her husband John Moody, inscribed as a Christmas present on inserted slip 'love from Peter & Ben'', [1965]; Moscow Christmas. December 1966, similarly inscribed on pasted-in slip, sent from The Red House, Aldeburgh, [1966]--The Poems of John Keats, inscribed to Burra by Peter Pears 'P.J.S.B. from Luard Pears', Methuen, 1926; together with books on Mozart, Berlioz, Verdi, Sibelius, William Byrd, some being signed or association copies FORSTER (E.M.) Abinger Harvest, FIRST EDITION, first issue with 'The Flood in the Office', advance proof copy with publisher's slip, Burra's TLS review from that year pasted in, dust-jacket, Edward Arnold & Co., 1936; The Eternal Moment, first collected edition, signed 'Peter Burra', Sidgwick & Jackson Ltd, 1928; A Passage to India, Everyman edition, contains Burra's essay 'The Novels of E.M. Forster' from 1934 (of which Forster wrote 'I read it with pleasure and pride, for he saw exactly what I was trying to do; it is a great privilege for an author to be analysed so penetratingly, and a rare one'), J.M. Dent & Sons, 1942; and 3 others by Forster signed or initialled by Burra (6)AUDEN (W.H.) Poems, FIRST EDITION, Auden's first published collection of poems, publisher's wrappers, defective, Faber & Faber Ltd., 1931--MANSFIELD (KATHERINE) Bliss, signed by Peter Burra, Constable & Co., 1927—AUSTEN (JANE) Mansfield Park, Burra's signed copy, Oxford, 1926MATHERS (HELEN) Group of 6 works inscribed to the Burra family by the Victorian novelist and Peter Burra's Godmother, Helen Mathers (1853-1920), including 2 editions of Comin' Thro' the RyeTogether with a quantity of other books from Burra's library, including prize copies, journals, periodicals etc., many inscribed by friends, authors, headmasters, tutors etc., various bindings but mostly publisher's cloth or wrappers, a few with dust-jackets, mostly 8vo (quantity)Footnotes:THE REMAINING BOOKS FROM THE WORKING LIBRARY OF PETER BURRA.A collection encompassing Burra's work in the fields of literary criticism and biography, poetry, drama and music, some by or with contributions from Burra himself, including two sets of Burra's Farrago, a first edition of Auden's Poems, 1930, and works on or by Virginia Woolf, E.M. Forster, Van Gogh, Katherine Mansfield, Peter Pears, Helen Mathers and others, many of the volumes either signed by Burra, or inscribed to or by him and members of his family. Included is a copy of the 1937 edition of Marguerite Steen's The Lost One, sent to Burra for a review which was due to be published on 29 April 1937, two days after Burra was killed in the air crash. The book is inscribed by Burra's mother Ella in pencil on the cover 'Peter was reviewing this book when he was killed'. A complete listing is available on request.Provenance: Peter Burra; his sister Nell Moody (née Burra); thence by descent to her godson Dr. Richard Thompson, 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

ELIOT (T.S.)Collected Poems 1909-1935, FIRST EDITION, AUTHOR'S PRESENTATION COPY TO GEOFFREY AND 'POLLY' TANDY, inscribed on front free endpaper 'to G. & Polly Tandy/ Compts. of Possum 31.iii.36', slight spotting mainly only to endpapers, publisher's blue cloth (extremities rubbed, slight staining at edges and foot of spine), dust-jacket (top edges frayed, slight stain and one short tear to upper cover, spine faded) [Gallup A32a], 8vo, Faber and Faber, 1936Footnotes:'COMPTS. OF POSSUM' - INSCRIBED TO FELLOW CAT-LOVERS GEOFFREY AND DORIS TANDY THREE DAYS BEFORE PUBLICATION.Geoffrey Tandy (1900–1969) was a writer, broadcaster and scientist who worked at the Natural History Museum, and he struck up a close friendship with Eliot in the early 1930s. The poet was soon a frequent visitor to the Tandy home, and befriended Tandy's wife, Doris – known as Polly. He also became godparent to their daughter, Alison.Eliot began writing poems about cats in around 1934, as presents for Alison Tandy and his other godchildren. Some were drafted in verse-form letters to the Tandys, and they feature the first appearance of characters such as Rumpleteazer and Old Deuteronomy. Eliot would address Polly affectionately as 'Pollytandy' or 'Pollitandy', signing himself 'Old Possum', 'Tom Possum', 'TP' or, as here, 'Possum'. In 1937 Geoffrey Tandy was the first to broadcast the poems, and on Christmas Day he read a version of 'Practical Cats' on the BBC.The Collected Poems were published on 2 April 1936, and include the first appearance of 'Burnt Norton', thus inaugurating the 'Four Quartets' sequence.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

FACE TO FACE PROGRAMMEVisitors' book from the BBC's Face to Face series of television interviews with John Freeman, including the signatures of thirty-one guests, one on each page, including the bold signature of C.G. Jung (dated 26 June 1959, a particularly important interview made two years before his death), Evelyn Waugh (a subject of a notoriously awkward interview, here signing himself 'E.A.St.J. Waugh'), John Reith (his signature subscribed 'Late BBC and regrets he ever left it'), Otto Klemperer, Jomo Kenyatta, Tony Hancock (whose grilling is thought by some to have strengthened his suicidal tendencies), Gilbert Harding (who was, famously, reduced to tears), Adam Faith, Stirling Moss, Compton Mackenzie ('A very pleasant talkative half hour for me'), Danny Blanchflower (after famously refusing to take part in This is Your Life), Augustus John and others, prefaced by that of John Freeman himself ('To Hugh Burnett – whose idea it all was – way ahead of his time'), 49 album leaves, some loose, others excised, red cloth, some wear, 4to (292 x 238mm.); with gelatin silver prints of the Jung interview at Küsnacht (4), Cecil Beaton, Augustus John and Albert Finney; three items of correspondence including an undelivered typed memo from Hugh Burnett dated 20 February 1962 explaining the difficulties encountered on the last series (ending with the assurance '...the reports of personal difficulties and ill will between John and myself are quite unfounded and unjustified...'); with a copy of Jonathan Cape's book based on the programme and edited by Burnett, published in 1964, signed by the portraitist Feliks Topolski (small group)Footnotes:Provenance: Hugh Burnett (1924-2011), producer of the ground-breaking BBC television interview series Face to Face which ran from 1959 to 1962.For further information on this lot please visit Bonhams.com

INDIA – EAST INDIA COMPANY & THE FIRST ANGLO-MARATHA WARManuscript journal, purportedly that of The Rev. Mr Arnold Burrowes (1749-1819), Senior Military Chaplain, Honourable East India Company Service, Bombay, written initially at Bombay and thence whilst accompanying Colonel Keating on campaigns during the first Anglo-Maratha War, with detailed journal entries, noting the arrival and departure of ships and passengers, pastimes, news on Company skirmishes with Portuguese troops ('...between two and three hundred fighting men... marched from Mahim... to attack the Fort of Versava on the sea coast...'), a description of the death of Commodore John Watson at Fort Thanna, a precis of Indian Affairs in 1774 ('...a grand Epocha in the history of the English transactions in the East Indies...'), many pages on history and religion ('...Brahmins... never taste anything that either has or could enjoy life...') and the advent of the first Maratha War ('...this revolution, so fatal and unexpected...'), much on his appointment as chaplain to Colonel Keating and his subsequent travels, to Surat for the signing of the treaty between Raghoba and the British ('...They proceeded in the greatest state... a large handsome building in the Mogul taste, just finished; adorned with chandeliers and carpets... The Nabob and all his attendants out of compliment to the English were seated in chairs...'), describing in detail their various camps, with descriptions of skirmishes ('...The enemy... in the greatest confusion... fled with the utmost precipitation, leaving their tents, grain and baggage on the ground...') and a vivid account of the success of the British forces at the Battle of Arras 18 May 1775 ('...For the enemy now observing this surprizing change in their favor, instantly faced about with renewed courage... and hacked our flying troops in the most shocking manner...'), with descriptions of life in camp ('...the water was soon rendered so thick and muddy by the thousands of men, horses, camels and elephants...'), on the morale of Ragobah's army ('...dispirited, fearful and timid to the last degree...'), changing allegiances ('...The Nabob Hyder Ally has declared himself in Ragobah's favor...'), interspersed throughout with descriptions of the landscapes, wildlife and weather, trade and the pastimes of the Nabobs ('...hawking and hunting... the flying of paper kites was formerly a fashionable amusement...'), his final task for Colonel Keating to take dispatches to Bombay on his behalf ('...I set out early this morning on an elephant...'), arriving at Bombay to find to his dismay that an immediate cessation of arms was ordered ('...This conduct... being fraught with the worst of consequences to the Companys interest on this side of India, where they would have obtained very valuable acquisitions in territorial revenues, as well as many other solid advantages upon Ragobahs establishment in the government of Poonah...'), 132 leaves, pages numbered 245 to 487, margins ruled in red, watermark, original blindstamped calf, worn with losses to back board and spine, folio (305 x 188mm.), 1 January 1774 to 9 September 1775Footnotes:'I SET OUT EARLY THIS MORNING ON AN ELEPHANT': The Honourable East India Company's chaplain describes the first skirmishes of the Anglo-Maratha War.Whilst there is no signature or ownership inscription in this journal, the entry for 16 February 1775 identifies the author as '...Chaplain to the troops now ordered from Bombay, under the command of Lieutenant Colonel Keating, to assist Ragonath Row, sovereign of the Maharattas in the war he is carrying on against his rebellious ministers...'. The Rev. Mr Arnold Burrowes (1749-1819) can reasonably be assumed, therefore, to be the author of our journal.The numbering of the pages would suggest that this is one of several volumes, with our volume taking in the period of eighteen months from 1774 to 1775 during which time the East India Company embarked on the so-called First Anglo-Maratha War (1775-1782). The war arose from a dispute between two candidates for the vacant position of Peshwa. One claimant, Raghunath Rao, received help from the British in Bombay in return for the promise of territories and trade should he be successful, a promise sealed at the Treaty of Surat, at which our author was present. The turning point was the Battle of Arras on 18 May 1775, described in detail here, resulting in heavy losses for the Mahratta chieftains under Hari Pant Phunhay and a British victory, despite Rao's troops fleeing in confusion. In consequence, the East India Company at Calcutta under Warren Hastings opposed any further interference and ordered the annulment of the Treaty of Surat, much to our author's disappointment, which is where our journal ends. Hostilities were resumed, however, and were to continue for a further seven years until a British victory sealed twenty years of peace.The journal is sold with a nineteenth century commonplace book, letters and family papers pertaining to the Wilson family, a descendant of whom was James Wilson (1805-1860), the founder of The Economist weekly and the Chartered Bank of India, Australia and China, who also held the post of Secretary of the Board of Control which supervised the East India Company's control of British India. Provenance: Basil F.A. Wilson, Edinburgh (ownership inscription dating from the 1930's in pencil on first leaf); thence by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

IRAN - QAJAR FAMILY IN CONSTANTINOPLEAlbum of photographs commemorating the visit of Muzaffar al-Din Shah Qajar to the Ottoman Court at Constantinople in 1900, 68 gelatin silver prints on 35 card sheets printed with ornamental borders, 24 larger images (c.260 x 200mm.) mounted one per page, 44 smaller images (110 x 80mm.) mounted 4 per page, all recto only, the opening image captioned in ink in Ottoman Turkish, contemporary full red morocco gilt, the covers with blind- and gilt-ruled borders enclosing an elaborate decorative border in gilt and green morocco onlays, each with a shaped centre panel cut away to reveal a brown morocco panel with gilt decoration of (upper cover) the star and crescent within ornamental frame, and (lower cover) the imperial insignia (comprising weapons, medals and flags), spine tooled in gilt, g.e., worn, spine split with minor loss and small old tape repair, oblong folio (345 x 410mm.), [1900]Footnotes:IMPORTANT ALBUM OF PHOTOGRAPHS BY ALI SAMI BEY, COMMEMORATING THE VISIT IN 1900 OF MUZAFFAR AL-DIN SHAH QAJAR TO THE OTTOMAN COURT IN CONSTANTINOPLE - IN A FINE CONTEMPORARY BINDING.The album includes formal portraits of the Shah and high ranking entourage, and scenes depicting his stay in Constantinople, including arrival by train, a voyage along the Bosphorus, visits to the Dolmabahçe Palace and Ortaköy Mosque, official greeting parties, and the Yalta Palace where the Shah stayed. The photographs were taken by Ali Sami Bey, chief photographer for Sultan Abdülhamid II from 1892 until the Sultan's deposition in 1909, who 'was present for the Persian Shah's visit and produced commemorative albums almost immediately for presentation to the sultan and the Shah, among others' (A. Behdad and L. Gartin, Photography's Orientalism: New Essays on Colonial Representation, 2013).For further information on this lot please visit Bonhams.com

KENNEDY (JOHN F.)Colour portrait photograph depicting John F. Kennedy sitting behind the Resolute desk in the Oval Office, by Robert LeRoy Knudsen, signed and inscribed in black ink on the mount to his brother-in-law Peter Lawford ('For Peter – who helped make this picture possible – with all of the best – Jack – '), light toning, slight discolouration to mount, image c.440 x 370mm., framed and glazed, overall 660 x 580mm., unexamined out of frame, Washington, [2 November 1961]Footnotes:'FOR PETER – WHO HELPED MAKE THIS PICTURE POSSIBLE': PRESIDENT JOHN F. KENNEDY'S GRATEFUL DEDICATION TO HIS BROTHER-IN-LAW PETER LAWFORD.Glamorous British actor Peter Lawford (1923-1984) married Kennedy's younger sister Patricia in 1954 and became a US citizen in 1960 in time to vote and campaign for his brother-in-law and the Democrats in the presidential election of the same year. Friends with the Rat Pack 'board members' Frank Sinatra, Dean Martin and Sammy Davis, Jr., he garnered their support for Kennedy and was instrumental in coaching Kennedy for his crucial debate against Richard Nixon. Lawford (affectionately known as 'brother-in-Lawford') therefore held a unique position at the intersection of politics and showbusiness, to the mutual benefit of both. It was through Lawford, via Sinatra, that Kennedy met Marilyn Monroe and he has been dubbed 'the man who kept the secrets' for his discretion and connections. Robert LeRoy Knudsen (1929-1989) served as the White House photographer during the administrations of five Presidents from Truman to Nixon. Among his most famous photographs were the series of John Kennedy, Jr. as a toddler in the Oval Office of May 1962, and he was also to take Kennedy's autopsy photographs a year later. A smaller copy of this photograph is held in the John F. Kennedy Presidential Library and Museum, accession no. KN.C19364, which confirms the date of the sitting and photographer.For further information on this lot please visit Bonhams.com

IRELAND - JAMES IIlluminated letters patent creating Thomas Cromwell the Viscount Lecale, in Latin, signed at the foot by Francis Edgeworth, Clerk of the Hanaper, bearing historiated initial letter portrait of James I, alongside that of Charles, Prince of Wales and the late Anne of Denmark, the document bearing three decorative borders (at head and both sides); the portrait of the King showing him head and shoulders, crowned and in state robes, with an elaborate ruff and jewelled collar, a foliate background and the words 'Posui Deum adiutorem meum [I have appointed God as my helper] ano. Dom. 1625' around his head, the upper border with a portrait of Prince Charles showing him three-quarter-length bearing the staff of office with the Prince of Wales feathers and an eagle to his right and, above, a quote from Isaiah 'Arise ye princes, anoint the shield', the Royal arms flanked by the lion and the unicorn at the centre, flanked in turn by angels bearing standards and the letters 'I.R', to the right a portrait of the late Queen Anne of Denmark next to her hatchment, stippled background decorated with Tudor roses; the left hand border with a knightly figure bearing the shield with the cross of St George beneath the royal portrait, accompanied by the biblical quotation 'The grasse withereth, the floure fadeth but the worde of our God shall stand for ever', and two coats of arms beneath; the right hand border depicting the Duke of Brunswick on horseback carrying a shield and pennant, below is another biblical quotation 'They that waite upon the Lorde shall renue their strength: they shall lift up the wings as the eagles' above crossed anchors and a pennant inscribed with the motto 'JE MAINTENDRAY', two coats of arms below, stippled background, first line with heavy foliate decoration; the reverse with the large illuminated coat of arms of Thomas Cromwell surmounted by a helmet surrounded by ermine and a gold pelican pecking her breast, supported by red winged unicorns, above a contemporary certificate of enrolment in the patent office and docket 'A Patent for the honour of Viscount Lecale to Thomas Lord Cromwell & the heires male of his Body', the writing and decoration in pen-and-ink, illuminated in gilt, with green, red, blue and white washes, on vellum, pierced at the lower border where the Great Seal was originally suspended, overall dust-staining, creased where folded, some rubbing and smudging, areas of loss particularly to lower edge where folded, some show-through from coat of arms on reverse, minor tears at edges, c.700 x 780mm., Dublin, 12 November 22nd James I [1624]Footnotes:AN IRISH DEED BEARING PORTRAITS OF JAMES I, HIS SON CHARLES PRINCE OF WALES & HIS LATE WIFE ANNE OF DENMARK. The beneficiary of this grant, Thomas Cromwell, fourth Baron Cromwell (1595-1653), descendant of Henry VIII's eponymous minister, served in a military capacity in Ireland and was created Viscount Lecale, as shown here, in November 1624. The motto around of the head of the King dated 1625 may show that, whilst the body of the document was drawn up at the end of 1624, the intricate decoration was not completed until the following year. '...In 1625 Cromwell was given command of a regiment in Ernest von Mansfeld's abortive expedition to the Palatinate, raising men in his wife's lands in Staffordshire. He was a staunch supporter of the Stuart monarchy and in the civil war commanded a regiment of horse, being rewarded with the Irish earldom of Ardglass in April 1645. He was fined £460 after the war by parliament for his commitment to the royalist cause and retired to the old family estates in Rutland, dying some time before 26 March 1653 at Tickencote...' (David Grummitt, ODNB). The head-and-shoulders portrait of James derives from the full-length state paintings of this period by Paul van Somer (ours being in reverse, indicating that it was taken from an engraving). The document has been signed at the foot, as enrolled, by Francis Edgeworth, whose father had emigrated to Ireland under the patronage of Essex and who was founder of Edgeworthstown and ancestor of Richard Lovell and Maria Edgeworth. As Clerk of the Hanaper (named after the hamper in which such writs were originally stored), Edgeworth was responsible for making out and issuing writs under the Great Seal. Our deed stands at the head of a decorative tradition applying to the grant of Irish titles that was to flourish well into the eighteenth century.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

LE CARRÉ (JOHN)The Spy Who Came in From the Cold, FIRST EDITION, SIGNED BY THE AUTHOR ON THE TITLE-PAGE, single name ownership inscription on front free endpaper, publisher's blue cloth (light fading at extremities of spine and top edge of boards), dust-jacket (very minor abrasion at head and foot of spine, a few light marks on lower cover but generally clean), preserved in cloth solander box, 8vo, Victor Gollancz, 1963Footnotes:An unusually good copy, the dust-jacket spine being bright and unfaded.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

LE CARRÉ (JOHN)The Spy Who Came in From the Cold, FIRST EDITION, WITH AUTHOR'S SIGNATURE on adhesive label loosely inserted, ink ownership name (dated London 1963) inside upper cover, old dealer pencil note on front free endpaper, publisher's blue cloth (slight fading and rubbing to extremities of spine), dust-jacket (spine slightly faded, 2 small abrasions touching the author's name on upper cover, price neatly struck through in pencil), 8vo, Victor Gollancz, 1963Footnotes:Together with the signed label is one of Le Carré's compliment slips, presumably enclosed by his secretary.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

MANTEL (HILARY)A twentieth century pine desk belonging to Hilary Mantel, the rectangular top above a kneehole enclosed by nine drawers, on a plinth base, INSCRIBED BY MANTEL inside the central drawer 'Hilary Mantel / her desk till 2022', 137cm wide x 65cm deep x 79cm high, together with various contents such as a wax seal, several Hilary Mantel bookmarks, a box of 'Mirror and the Light' pencils, a small mounted promotional print of the 'Wolf Hall' and 'Bringing up the Bodies' dramatisations at RSC, programmes for the same, and 5 signed paperbacks of Mantel titles (small group)Footnotes:THE DESK AT WHICH WOLF HALL WAS WRITTEN. In an accompanying autograph letter letter addressed to the buyer of the present lot ('Dear owner'), Dame Hilary Mantel writes, 'This desk was made for me in Holt, in Norfolk,' before she moved to Woking. 'Soon after, its real work began - 15 years on the Wolf Hall trilogy, beginning in Surrey, continued in Devon, & concluded here, in the room from which I write to you.'Mantel wrote all her novels since the 1994 A Change of Climate on this desk, including Wolf Hall, Bring Up the Bodies and The Mirror and the Light. Elsewhere, she has remarked that the desk 'has served me well and has a great record of turning out prize winners' - Wolf Hall won both the Man Booker Prize and the National Book Critics Circle Award. In the present letter, she concludes that she is relocating to Ireland, so 'It's time for the desk to move on - battered tho' it is, it still has life in it... The proceeds of the sale will buy books for children who need them.'The desk is being sold to support the work of the prestigious Budleigh Salterton Literary Festival in local schools. The Festival takes authors free of charge into schools to engage children in reading for pleasure, and this year is also providing as many children as it can in the region with a free book.Provenance: Hilary Mantel.For further information on this lot please visit Bonhams.com

ORTON (JOE)Adler Universal 40 manual typewriter, bought by Joe Orton in April 1967, and used to write What the Butler Saw and Up Against It, stamped with serial number 'A810 08501 (Form 2)', paper seller's label of Low's Typewriter Company Limited, London (City, West End and Croydon phone numbers), seemingly in working order but in need of cleaning, oiling, and ribbon replacement, c.530 x 440mm. overall, with original slightly tatty fabric cover stamped 'Ma 30' on reverse, [manufactured c.1965]Footnotes:'I'VE FINISHED TYPING WHAT THE BUTLER SAW' - JOE ORTON'S LAST TYPEWRITER, bought four months before his violent death at the hands of Kenneth Halliwell, and used to complete his final and possibly finest play, the provocative parody of societal attitudes to sexual assault, What the Butler Saw. As his diary entry for Tuesday 4 April 1967 records, he and Halliwell 'went into the West End this morning. I bought a new typewriter. It cost eighty-odd pounds.... Argument over the fact that I bought two typewriter ribbons for 15s and normally only pay 7s 6d for them'.Orton had already started writing What the Butler Saw the previous December, but the final version was not typed until July 1967, after he returned from his third trip to Tangier with Halliwell and Kenneth Williams: 'I've finished typing What the Butler Saw. Yesterday Kenneth read the script and was enthusiastic – he made several important suggestions which I'm carrying out' (Orton Diary, 11 July 1967). That same day Orton 'started typing the copies to be given to Peggy', and by the end of the month he was in discussions about the first production. However his optimism was of course short-lived - ten days later later he was dead, never having seen the play performed. When the play was finally put on, in March 1969, the opening night was a critical and commercial disaster, although one can't help thinking that Orton would have enjoyed the angry and disruptive reaction of the audience: 'Shouts of 'Filth!', 'Rubbish!', 'Find another play!' bombarded the actors as they struggled bravely through the lines', while actor Stanley Baxter recalls 'it became clear that it was militant hate that had been organized.... It was a battle royal.... The gallery wanted to jump on the stage and kill us all. The occasion had the exhilaration of a fight' (quoted in John Lahr, Prick up Your Ears).Orton also used his Adler that year to type The Ruffian on the Stair and The Erpingham Camp for the stage double bill Crimes of Passion, along with some of his 'Edna Welthorpe' letters, and others written to Kenneth Williams. He also typed his screenplay for the projected Beatles film, Up Against It. He had already met with Paul McCartney to discuss the project, and although the screenplay was rejected by Brian Epstein after some delay, it was picked up by producer Oscar Lewenstein, who engaged Richard Lester as director, with Mick Jagger and Ian McKellen proposed for two of the leads. A meeting was arranged between Orton, Lewenstein and Orton at Twickenham Studios for what turned out to be the fateful day of 9 August, and it was Orton's driver who arrived that morning to discover the bodies of Orton and Halliwell.Adler began manufacturing typewriters in 1898, and their machines have always been known for their innovative design and build quality. Initially they were aimed at printers and businesses, but as the century progressed, the firm began to manufacture domestic use models, such as the Universal, which were popular due to their precision and reliability, not least with writers. In 2015 Maya Angelou's electric Adler was sold at auction following her death, and now forms part of the Steve Soboroff collection, along with the typewriter belonging to E.M. Forster, sold in these rooms on 19 March 2014 (lot 193). Our typewriter was not Orton's first Adler - for his first six plays he used an Adler Tippa, the machine which led to his and Halliwell's arrest and six-month imprisonment when a librarian at Islington managed to show that letters from Orton were written on the same typewriter as the infamous defaced library books.Exhibited: 'Ortonesque; Joe Orton 1933-1967', Leicester's New Walk Museum and Art Gallery, March 3 - May 7 2007, retrospective exhibition marking the 40th anniversary of Orton's death, featuring a collection of his personal belongings; 'Malicious Damage: The Life and Crimes of Joe Orton and Kenneth Halliwell in Islington', Islington Museum, 14 October 2011 – 25 February 2012 (alongside the defaced books).The examples of Orton's typing illustrated are not included in the lot. Images supplied courtesy of the Orton Collection at the University of Leicester, MS 237/3/7/2 © Orton Estate.Provenance: Joe Orton, 1967; sold on behalf of The Orton Estate.For further information on this lot please visit Bonhams.com

ORTON (JOE)Prick Up Your Ears, FIRST EDITION, INSCRIBED BY THE AUTHOR 'For Leonie & George - Who contributed so much to this book & to me./ With enduring affection, John/ October 18, 1978', publisher's cloth, rubbed, 8vo, Allen Lane, 1978; together with a long playing record of the 1952 Broadway revival of the Rodgers and Hart musical Pal Joey, inscribed on the sleeve to Orton by his agents at the William Morris Agency ('October 12, 1965/ Dear Joe: All the best from your U.S. agents...'); and first editions of the 3 posthumously published early works, Fred & Madge. The Visitors. Two Plays, 1998, Between Us Girls, a novel, 1998, and (with Kenneth Halliwell) The Boy Hairdresser and Lord Cucumber, 1999, publisher's cloth, dust-jackets, 8vo, Nick Hern Books (5)Footnotes:First edition of Prick Up Your Ears, inscribed by John Lahr to Joe Orton's sister and her husband: 'The Orton family was crucial to my research... especially Leonie Orton Barnett with her perceptive and affectionate regard for Joe...' (Acknowledgements, p. xiv). During a trip to New York for the opening of Entertaining Mr Sloane, Orton had written to Kenneth Halliwell that he had gone in search of recordings of old musicals: 'I've not got Pal Joey or the Bells are ringing yet or the others we wanted'. It seems his American agent knew he wanted this LP, went out and bought it for him and got it signed.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

ROWLING (J.K.)Harry Potter and the Philosopher's Stone, FIRST EDITION, FIRST IMPRESSION, INSCRIBED BY THE AUTHOR 'To Jenny and Lucy, with best wishes, J.K. Rowling' and dated 6-9-97 on front free endpaper, publisher's imprint page with the number sequence from 10 to 1, and author cited as 'Joanne Rowling', p.53 with the duplication of '1 wand' on the equipment list, misspelling 'Philospher's' on lower cover, publisher's pictorial boards, spine ends slightly bumped [Errington A1(a)], 8vo, Bloomsbury, 1997Footnotes:An extremely good copy, inscribed within three months of the date of publication, 26 June 1997.Provenance: An acquaintance of Rowling, who asked the author to inscribe the copy to her young relatives Jenny and Lucy, the current owners.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

ROWLING (J.K.)Autograph letter signed ('With lots of love, Jo'), to Emily ('Dear Emily'), thanking her for her letter in which the teenager described how reading the Harry Potter books helped her mental health, speaking of her own '...personal Dementors...', and ending with reassuring advice given from Dumbledore to Harry ('...of course it is happening inside your head, Harry, but why on earth should that mean that it is not real?...'), two pages, on Rowling's dark blue-edged headed paper with embossed signature and owl motif in gilt, creased at folds but in fine, fresh condition, folio (294 x 210mm.), [n.p.], 6 June 2014Footnotes:'I AM SO GLAD TO KNOW THAT HARRY HELPED YOU AT SUCH A DARK TIME': J.K. Rowling writes a sympathetic and encouraging letter to a young fan who found solace in her characters when suffering from anxiety, in which she passes on advice from Dumbledore to Harry, imagines what Moaning Myrtle might have to say, and mentions her own 'personal Dementors'.For further information on this lot please visit Bonhams.com

WHITMAN (WALT)Leaves of Grass; Two Rivulets. Including Democratic Vistas, Centennial Songs, and Passage to India, together 2 works, AUTHOR'S PRESENTATION COPIES, inscribed 'William Minturn from the author' on the front free endpaper of each volume, 'Leaves of Grass' additionally SIGNED ('WALT WHITMAN') ON TITLE, 'Two Rivulets' with frontispiece of an ALBUMEN PRINT PORTRAIT OF WHITMAN SIGNED ('Walt Whitman 1878'), advertisement leaf at end of each volume, yellow endpapers, original cream half morocco, gilt morocco spine labels, spines age soiled and chipped at head, upper joint of 'Two Rivulets' slightly weakened [BAL 21412, 21413], 8vo, Camden, New Jersey, Author's Edition, 1876 (2)Footnotes:PRESENTATION COPIES INSCRIBED BY WHITMAN TO THE AMERICAN AUTHOR WILLIAM MINTURN. Whitman recorded in this daybook a meeting with Minturn in New York on 16 January 1878, during which they talked 'about Emile Zola of Paris, Dante Rossetti, Swinburne & O'Shaughnessy'. Minturn, whose Travels in the West had been published in 1877, had spent time in Paris (where he was to be buried at the famous Père Lachaise cemetery), meeting Zola who had expressed admiration for Leaves of Grass. Provenance: William Minturn (1853-1882), gift inscriptions from the author, and bookplate in each volume.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

CHINA - SHANGHAIWATERS (THOMAS JAMES) Map of the Country Around Shanghai. Compiled from the Best Authorities with Numerous Additions from Actual Survey, large lithographed map, dissected into 20 sections laid on linen, a few waterways hand-coloured in blue ink, several place names added and others underlined in red pencil, map total dimensions 845 x 933mm., overall sheet 862 x 960mm., [?Shanghai, c.1880]Footnotes:Scarce map of Shanghai, OCLC citing only 2 copies, made by Thomas James Waters (1842–92), a civil engineer from Ireland who resided in Shanghai from 1878 to 1885, having previously worked extensively in Japan. A note records that the 'map extends to the limits of canal naviagation south of the Yangste river'.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

AMMAN (JOST)Artliche und kunstreiche Figurn zu der Reutterey sampt irem musterhafftem Geschmuck, Dergleichen nie auszgangen, title printed in red and black within pictorial woodcut border, 97 full-page woodcuts of equestrian subjects (some printed recto and verso, some plates with soiling and the odd small stain, small surface abrasion to cut on Y1v), modern blind-stamped vellum [VD16 A 2295], oblong 8vo (145 x 185mm.), Frankfurt, Sigmund Feyerband, 1584Footnotes:First edition of a rare work of 97 fine woodcuts depicting equestrian subjects, including knights, richly costumed women, jousters, hawkers, etc. by Jost Amman (1539-1591) who from 1562 held the position of chief artist for publisher Sigmund Feyerband of Frankfurt.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

FABRIS (SALVATORE)Scienza e pratica d'arme... verteutschte Italiansche Fecht Kunst, parallel Italian and German text, title printed in red and black, 2 full-page engraved portraits (including author), 109 engraved illustrations (mostly) of fencing positions in text, without final blank, some browning, short tear repaired with archival tape to pp.67/68, contemporary calf over boards, worn, neatly rebacked preserving most of original spine with later gilt morocco spine label [Cockle, p.249; Thimm, p.97], small folio (305 x 220mm.), Leipzig, Erasmus Hynitzsch, 1677Footnotes:A German translation, with parallel text in Italian, of Fabris' fencing manual, using the plates for the first edition, 'with the addition of one representing the monument erected to Fabris's memory in Padua his native town; and a portrait of a certain Heinrich, who seems to have patronised this reproduction of the great master's work' (Thimm).Provenance: Jack Gorlin, 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

CORFU – COLONEL ARTHUR PONSONBYAlbum compiled by Colonel Arthur E.V. Ponsonby of the Grenadier Guards, stationed in Corfu, containing a collection of printed ephemera such as poems, menus ('A.P. begs to call attention to the sauce with this Dish. The note of interrogation infers a doubt as to their nature'), invitations, play bills (one on silk), songs, racecards ('Corfu Garrison Races!!/ Monday 11th June 1860'), concert programmes, notices of the Ionian Association, interspersed with pencil, pen and ink illustrations and watercolours of fellow soldiers, local characters and landscapes with some of Crimea and a portrait of Prince Kung ('chief commissy of the Emperor of China for signing the convention of Peking...'), Ponsonby's passport, various engravings, newspaper cuttings etc, the majority pasted in, others loose, 69 leaves, bookplate of Arthur Ponsonby, brown cloth, worn, 350 x 250mm., 1859-60; with twelve autograph letters signed ('Arth Ponsonby') to his mother Lady Emily Charlotte Bathurst (d.1877), some illustrated, describing his arrival in Corfu, with tales of life in the garrison ('It is the height of the season, occasional balls, dinners, opera & shooting party going on...'), earthquakes, sighting of a comet, starting up a newspaper ('...no politics or allusion to the Greeks, so they can not object to it...'), snipe shooting in Albania, news of the relief of Lucknow, harvest ('...Grapes just now are in abundance, but there has been a disease amongst them this year which will spoil the wine...'), a trip to Zante, yachting, local fairs ('...The women singularly ugly but wonderfully dressed...'), climate etc., 44 pages, 8vo, Corfu, Cologne, 1857 to 1859 (quantity)Footnotes:A snapshot of Victorian British army life abroad in a garrison largely engaged in ceremonial duties. Arthur Edward Valette Ponsonby (1827-1868) was the son of Major General Sir Frederick Cavendish Ponsonby (1783-1837), former Governor of Malta, and brother of Sir Henry Ponsonby (1825-1895), who became Queen Victoria's Private Secretary. He was commissioned into the Grenadier Guards, served in the Kaffir war and the Crimea, and was quartered in Corfu when Gladstone arrived on a special mission to investigate the unsatisfactory state of the Ionian Islands in 1858. He also started the garrison newspaper (mentioned in his letter here) and was aide-de-camp to General Sir George Buller, the Garrison Commander. In April 1863 he transferred to the Suffolk Regiment when '...One of his first innovations was a battalion journal, the East Suffolk Gazette, believed to be the first such publication in the Army...' (Suffolk Regiment Museum website) and organised the first Soldier's Industrial Exhibition in Dublin in 1864. He took the battalion to India where he introduced a range of activities to keep the soldiers active, no doubt inspired by his early days in Corfu. He died of cholera at Jubbulpore in June 1868. According to his great nephew, also Arthur, he was '...a very amusing, original and unconventional man... quite colourless in his letters, although he touched on questions of interest...' (Henry Ponsonby, Queen Victoria's Private Secretary, His Life from his Letters by his son Arthur Ponsonby, 1943, p.308).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