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1289

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Lewes, East Sussex
Music and dance, 1817-1843i. John Sale (1758-1827), secretary of the Catch Club; letter to Terrail, unanimously elected a member of the club; 30 Arundel Street, to 28 January 1817The Noblemen and Gentlemen’s Catch Club was established in 1761, and met at the Thatched House Tavern in St James’s Street. John Sale served as secretary between 1812 and 1827. A history of the Club, still in existence, by Viscount Gladstone, Guy Boas and Harald Christopherson, was published in 1996. For John Sale, singer and conductor, see ODNB. For a reminiscence of Terrail, a counter-tenor, see The Musical Times and Singing Class Circular4 (1852) 208.ii. Catherine [Kitty] Stephens (1794-1882), singer and actress; letter to Mr Moore, requesting one of his men to bring ‘one pair of the very thin silk stockings’; Friday, c1820With a cut-down engraving [by Cooke, from a painting in the possession of Thomas Walsh], of Miss Stephens [in the role of Diana Vernon in Rob Roy MacGregor; published by Simpkin and Marshall, stationers, 1820]Daughter of a London carver and gilder, her opera career lasted from 1812 until 1838, when she married the octogenarian Earl of Essex. Following his death the following year she continued to live at 9 Belgrave Square until her own death in 1882. A testament to her reputation was her reception at court by Queen Victoria, who recorded in her journal that Lord Essex had been ‘excessively pleased’ by her ‘having called up Lady Essex … at the Ball and having spoken to her’.The addressee is perhaps Joseph Moore (1766-1851), entrepreneur and promoter of musical and choral festivals at Birmingham, Malvern and York (ODNB).iii. Cipriani Hambley Potter (1792–1871), composer and pianist, 30 York Buildings; letter to W[illiam] Watts, esquire, 45 Cirencester Place, Fitzroy Square; has Watts succeeded with the directors respecting the two additional rehearsal tickets? 20 May 1828Potter was one of the leading composers and pianists of the 1820s and 1830s. At the end of 1817 he left England to study composition abroad. His first destination was Vienna, where he met Beethoven, who commented favourably on him in a letter of 5 March 1818. He taught at the Royal Academy of Music, the establishment of which was proposed at a meeting at the Thatched House Tavern in 1822; he became principal of the College in 1832.William Watts, a violinist, was secretary of the Philharmonic Society between 1815 and 1847.iv. Maria (signs Marietta) Malibran (1808-1836), mezzo-soprano; letter. La tua buona amica, to Monsieur le Chevalier Ferdinando Paër; undated, 1830sRequests something for La sorella di Minette, who deserves reward being charged with a familyMalibran was born in Paris as María Felicitas García Sitches into a famous Spanish musical family. Her mother was Joaquina Sitches, an actress and operatic singer. Her father Manuel García was a celebrated tenor much admired by Rossini, having created the role of Count Almaviva in his The Barber of Seville. At the age of eight she appeared on stage at Naples with her father in Ferdinando Paër’s Agnese. She made her début at the Paris Opéra in 1828. Triumphs followed in London (Covent Garden début 1833), Naples, Rome, Bologna, Venice, Lucca, and Milan (La Scala début 1834). In 1836 married the Belgian violinist Charles de Bériot with whom she had lived since 1830. Malibran moved to England in 1834 and began to perform in London and the continent. In April 1836 she fell from horse in London, while pregnant, her injuries leading to her death in September, when she collapsed after singing a duet at a Manchester festival.Ferdinando Paer (1771-1839) was an Italian composer known for his operas. In 1812, he became conductor of the Opéra-Italien in Paris. He retained this post after theRestoration while accepting those of chamber composer to the king and conductor of the private orchestra of the Duke of Orléans. In 1823, he retired from the Opéra-Italien and was succeeded by Rossini.v. Marie Taglioni (1804-1884), ballet dancer; letter to Monsieur Dupouchet; requests a box and some tickets for this evening; Monday, c1840With a lithograph of a portrait of Taglioni by François Séraphin Delpech (1778-1825); [Paris, 1832]Born in Sweden, Taglioni was one of the most celebrated dancers of the romantic ballet, which was cultivated primarily at Her Majesty’s Theatre in London and at the Théâtre de l’Académie Royale de Musique of the Paris Opera Ballet. She is credited with (though not confirmed as) being the first ballerina to truly dance en pointe. It was in Russia after her last performance in the country (1842) and at the height of the ‘cult of the ballerina’, that a pair of her pointe shoes were sold for two hundred roubles, reportedly to be cooked, served with a sauce and eaten by a group of balletomanes.vi. Joseph Alfred Novello (1810-1896), music publisher; letter to Joshua French, Gentleman of Her Majesty’s Chapels Royal, Windsor; 69 Dean Street Place, 3 May 1843Thanks to his note they put off their visit to Windsor, as well on account of the rain; encloses a letter of Rossini [not present] ‘whose letters are scarce as he generally write [sic] by his secretary’; many thanks for the facsimilesThe letter was written as Novello embarked on a project to publish cheap music for the mass singing-class movement, enthusiastically supported by those concerned with working-class morality in an age of political and industrial radicalism. In 1842 he published Joseph Mainzer's sight-singing manual Singing for the Million and the weekly Mainzer's Musical Times and Singing-Class Circular.
Music and dance, 1817-1843i. John Sale (1758-1827), secretary of the Catch Club; letter to Terrail, unanimously elected a member of the club; 30 Arundel Street, to 28 January 1817The Noblemen and Gentlemen’s Catch Club was established in 1761, and met at the Thatched House Tavern in St James’s Street. John Sale served as secretary between 1812 and 1827. A history of the Club, still in existence, by Viscount Gladstone, Guy Boas and Harald Christopherson, was published in 1996. For John Sale, singer and conductor, see ODNB. For a reminiscence of Terrail, a counter-tenor, see The Musical Times and Singing Class Circular4 (1852) 208.ii. Catherine [Kitty] Stephens (1794-1882), singer and actress; letter to Mr Moore, requesting one of his men to bring ‘one pair of the very thin silk stockings’; Friday, c1820With a cut-down engraving [by Cooke, from a painting in the possession of Thomas Walsh], of Miss Stephens [in the role of Diana Vernon in Rob Roy MacGregor; published by Simpkin and Marshall, stationers, 1820]Daughter of a London carver and gilder, her opera career lasted from 1812 until 1838, when she married the octogenarian Earl of Essex. Following his death the following year she continued to live at 9 Belgrave Square until her own death in 1882. A testament to her reputation was her reception at court by Queen Victoria, who recorded in her journal that Lord Essex had been ‘excessively pleased’ by her ‘having called up Lady Essex … at the Ball and having spoken to her’.The addressee is perhaps Joseph Moore (1766-1851), entrepreneur and promoter of musical and choral festivals at Birmingham, Malvern and York (ODNB).iii. Cipriani Hambley Potter (1792–1871), composer and pianist, 30 York Buildings; letter to W[illiam] Watts, esquire, 45 Cirencester Place, Fitzroy Square; has Watts succeeded with the directors respecting the two additional rehearsal tickets? 20 May 1828Potter was one of the leading composers and pianists of the 1820s and 1830s. At the end of 1817 he left England to study composition abroad. His first destination was Vienna, where he met Beethoven, who commented favourably on him in a letter of 5 March 1818. He taught at the Royal Academy of Music, the establishment of which was proposed at a meeting at the Thatched House Tavern in 1822; he became principal of the College in 1832.William Watts, a violinist, was secretary of the Philharmonic Society between 1815 and 1847.iv. Maria (signs Marietta) Malibran (1808-1836), mezzo-soprano; letter. La tua buona amica, to Monsieur le Chevalier Ferdinando Paër; undated, 1830sRequests something for La sorella di Minette, who deserves reward being charged with a familyMalibran was born in Paris as María Felicitas García Sitches into a famous Spanish musical family. Her mother was Joaquina Sitches, an actress and operatic singer. Her father Manuel García was a celebrated tenor much admired by Rossini, having created the role of Count Almaviva in his The Barber of Seville. At the age of eight she appeared on stage at Naples with her father in Ferdinando Paër’s Agnese. She made her début at the Paris Opéra in 1828. Triumphs followed in London (Covent Garden début 1833), Naples, Rome, Bologna, Venice, Lucca, and Milan (La Scala début 1834). In 1836 married the Belgian violinist Charles de Bériot with whom she had lived since 1830. Malibran moved to England in 1834 and began to perform in London and the continent. In April 1836 she fell from horse in London, while pregnant, her injuries leading to her death in September, when she collapsed after singing a duet at a Manchester festival.Ferdinando Paer (1771-1839) was an Italian composer known for his operas. In 1812, he became conductor of the Opéra-Italien in Paris. He retained this post after theRestoration while accepting those of chamber composer to the king and conductor of the private orchestra of the Duke of Orléans. In 1823, he retired from the Opéra-Italien and was succeeded by Rossini.v. Marie Taglioni (1804-1884), ballet dancer; letter to Monsieur Dupouchet; requests a box and some tickets for this evening; Monday, c1840With a lithograph of a portrait of Taglioni by François Séraphin Delpech (1778-1825); [Paris, 1832]Born in Sweden, Taglioni was one of the most celebrated dancers of the romantic ballet, which was cultivated primarily at Her Majesty’s Theatre in London and at the Théâtre de l’Académie Royale de Musique of the Paris Opera Ballet. She is credited with (though not confirmed as) being the first ballerina to truly dance en pointe. It was in Russia after her last performance in the country (1842) and at the height of the ‘cult of the ballerina’, that a pair of her pointe shoes were sold for two hundred roubles, reportedly to be cooked, served with a sauce and eaten by a group of balletomanes.vi. Joseph Alfred Novello (1810-1896), music publisher; letter to Joshua French, Gentleman of Her Majesty’s Chapels Royal, Windsor; 69 Dean Street Place, 3 May 1843Thanks to his note they put off their visit to Windsor, as well on account of the rain; encloses a letter of Rossini [not present] ‘whose letters are scarce as he generally write [sic] by his secretary’; many thanks for the facsimilesThe letter was written as Novello embarked on a project to publish cheap music for the mass singing-class movement, enthusiastically supported by those concerned with working-class morality in an age of political and industrial radicalism. In 1842 he published Joseph Mainzer's sight-singing manual Singing for the Million and the weekly Mainzer's Musical Times and Singing-Class Circular.

Gorringes Book inc House & Gardens weekly Sale - Monday 16th October 2023

Sale Date(s)
Lots: 1001 - 1901
Venue Address
15 North Street
Lewes
East Sussex
BN7 2PD
United Kingdom

General delivery information available from the auctioneer

PHONE BIDS

Phone Bids are possible on lots with a £300 bottom estimate or more. (e.g £300-500)

SHIPPING

We can offer a delivery service for Lots purchased by packing and  shipping ourselves. If we cannot pack certain items we will recommend third party logistics companies that can help. Estimates for Shipping Costs for smaller items can be calculated pre-sale upon request and are based on value, size and your chosen UK destination. For items purchased the actual cost can be added to your account and paid online after the sale. If you purchase multiple Lots from the same auction, we will combine packaging/deliveries to reduce the Shipping Costs if this is possible. For lots for which Shipping Costs cannot be calculated, such as furniture, or larger items, upon request you can obtain a recommended Shipping Company either in advance of the sale or after you have purchased. Gorringes do not offer international shipping.

Estimates of Shipping Costs are based on the low estimate, whilst the actual cost is based on Hammer Price.

Items not possible for in-house postage and packing include Tea/dinner services, large quantities of ceramics, any lots containing liquids, ALL bladed items.

PLEASE NOTE, as of 22nd April 2024, all "bladed items" will be prohibited for sending in the post. This is as per Royal Mail's prohibited items list. Royal Mail say that you must not send any item that has a blade, in particular, ‘Bladed Articles’ as defined by the Criminal Justice Act 1988 or ‘Bladed Products’ as defined by the Offensive Weapons Act 2019. Such items include, Cutlery knives, Scissors with sharp edges, Sporting equipment with a blade, Replica and antique knives (including those used for re-enactment purposes), Handmade and bespoke knives, Open razors (where the blade is exposed), Any axe, Any sword, Survival knives etc.

 

Important Information

AUCTION - Furniture, Books, Smalls, Paintings, Silver, Jewellery...

VIEWING - Viewing will be held Friday 9-5, Saturday 9-1. Auction will begin Monday from 9:30

REQUESTS for additional information on specific lots to salesenquiries@gorringes.co.uk

SHIPPING IS AT THE DISCRETION OF GORRINGE'S, WE ARE UNABLE TO ASSIST WITH INTERNATIONAL SHIPPING

Terms & Conditions

INFORMATION FOR BUYERS

Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

1.It is our policy to charge the Buyer all costs involved to cover our expenses relating to the payment of royalties under the Artist Resale Right Regulations 2006.  You agree that we may add such amount to the purchase price.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer's Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. Buyer's Premium. The Conditions of Sale oblige buyers to pay a buyer's premium at 23% plus VAT on the hammer price of each lot purchased plus 4.95% plus VAT live bidding fee.

5. VAT. (†) indicates that VAT is payable by the purchaser at the standard rate (presently 20%) on the hammer price as well as being an element in the buyer's premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer's premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers' Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.   "Would buyers please notify Gorringes if they are VAT registered upon registration, and provide their valid VAT Registration Number. This information will be added to the customer database. This will enable those buyers to recover the input tax shown on their invoices relating to lots which are daggered or non-EU imported goods".

6. Descriptions And Condition. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are 'deliberate forgeries' may be returned and repayment made. There is a 3 week time limit. (The expression 'deliberate forgery' is defined in our Conditions of Sale).

7. Electrical goods. These are sold as 'antiques' only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory. Ask us if you need help.

9. Bidding. Bidders may be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. If you are unable to attend the sale commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers' premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Commission bids must be with the auctioneers 24 hours before the date of sale. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or email to clientservices@gorringes.co.uk . A Commission Bids form is printed in the back of this catalogue.

11. Telephone bidding. Telephone bids can be booked, by prior arrangement with the office for Lots estimated in excess of £500, subject to the availability of a limited number of telephone lines.

12. Methods of Payment. As a general rule any cheques (GBP only) tendered will need to be cleared before removal of the goods is permitted. We accept most debit. WE DO NOT ACCEPT PAYPAL.  Due to money laundering regulations clients wishing to pay £9000 or more in cash will be asked to provide proof of identity and address, or payment by bank transfer. Please discuss with our Office in advance of the sale if other methods of payment are envisaged.

13. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges. Where practical and upon receipt of payment clearing will be permitted during and immediately following the sale and for the following week during office hours. Please note that it is the responsibility of the buyers to ensure that any lot purchased is complete as at the time of collection from the saleroom. The Auctioneers can take no responsibility for any item or items found to be damaged or missing after the lot has been removed from the saleroom.

14. Artist's Re-Sale Right

From mid February 2006 living artists are entitled to receive a re-sale royalty each time their artwork is bought or sold by an art market professional.  This new law has been introduced in the UK following a European directive. Works sold for a sum of 1000 euros (approximately £680) or more will be subject to the following additional charge as per the scale rate shown below.  This will be charged to the buyer of any eligible lots and will be based on the hammer price.  Lots that may potentially incur this charge will be announced from the rostrum.

Portion of the sale price                                                                Royalty Rate

From 0 to 50,000 euro                                                    4%

From 50,000.01 to 200,000 euro                 3%

From 200,000.01 to 350,000 euro                               1%

From 350,000.01 to 500,000 euro                               0.5%

Exceeding 500,000 euro                                                                0.25%

 

14. 

We offer a delivery service for Lots purchased,either by shipping ourselves, or use of a third party logistics company. Estimates for Shipping Costs for smaller items can be calculated pre-sale upon request and are based on value, size and your chosen UK destination. For items purchased the actual cost can be added to your account and paid online after the sale. If you purchase multiple Lots from the same auction, we will combine packaging/deliveries to reduce the Shipping Costs. For lots for which Shipping Costs cannot be automatically calculated, such as furniture, upon request you can obtain a bespoke Shipping Cost either in advance of the sale or after you have purchased.

Estimates of Shipping Costs are based on the low estimate, whilst the actual cost is based on Hammer Price. We are unable to assist with international shipping.

CONDITION REPORTS

IT IS STRONGLY ADVISED FOR ALL BIDDERS TO REQUEST A CONDITION REPORT PRIOR TO BIDDING, WE MAKE NO GUARANTEES ABOUT CONDITION ON ANY ITEM WITHOUT REFERENCE TO A PREVIOUSLY REQUESTED CONDITION REPORT.

See Full Terms And Conditions