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Lot 124
Lionel Edwards-"The Bramham Moor, Bickerton Bar", colour print, signed in the margin, with Fine Art Guild blindstamp; Lionel Edwards-"The V.W.H (Earl of Bathurst's) at Coln St Alwyn", colour print, signed in the margin with Fine Art Guild blindstamp; after Liionel Edwards-"The South Notts Fox Hounds" and Hull Hill colour prints (4-faded)
Lot 352
A Collection of Militaria, including a brass trench art ashtray, a small brass model of a cannon on a cast iron carriage, a Queen's Own Oxfordshire Hussars pewter pint mug, a pair of nickel stirrups, a brass button plate, a North Atlantic Treaty Organisation medal with Former Yugoslavia clasp, an Indian silver mounted dagger and sheath, a parang and two other daggers.
Lot 646
A VERY RARE 18-BORE BREECH-LOADING FLINTLOCK RIFLED HOLSTER PISTOL BY R. ROWLAND, Early 18th century, 17 1/2in. overall, with swamped three-stage sighted barrel rifled with sixteen grooves and with scroll engraving at the breech (engraving worn), the barrel being loaded by removing a screw-plug underneath the barrel that is attached to the trigger-guard, engraved tang incorporating a flip-up back-sight, rounded lock (cock repaired) signed 'R. ROWLAND' and engraved with foliage, moulded figured walnut full stock, engraved brass mounts including spurred pommel with grotesque mask cap and pierced side-plate (repaired), and later brass-capped ramrod (some discolouration to iron parts), London proof marks, maker's mark of Robert Rowland. Provenance: J.C.L. Knapton Collection, Christie's South Kensington, 28th February 1990, 92.Exhibitions: The Art of the Armourer, Victoria and Albert Museum, 1963, No. 277.Literature: H.L. Blackmore, Firearms, p. 150.Other Notes: Robert Rowland is recorded as having gun barrels seized from his shop by the Gunmakers' Company in 1704. He was made free by redemption of the Gunmakers' Company in 1715 and died in 1721.
Lot 688
AN 11.3mm BREECH-LOADING PERCUSSION TARGET PISTOL BY GASTINNE RENETTE, serial no. 3833, Dated '1893', 16 1/2in. overall, with octagonal rifled sighted barrel with fluted centre section signed 'INV.ON GASTINNE-RENETTE A PARIS', finely scroll engraved tang incorporating the rear-sight, floating detented lock signed 'GASTINNE-RENETTE' and finely engraved with further scrollwork, figured walnut half-stock with chequered butt, and finely scroll engraved trigger-guard, barrel-lever and shaped pommel, the lock and pommel retaining some faded original case-hardened finish, the trigger-guard and barrel-lever retaining some original blued finish. Other Notes: The firm of Gastinne Renette were renowned as makers of the finest quality duelling and target pistols from the 1830's onwards with their premises and shooting galleries situated in the heart of Paris, where duelling lessons could be had up until the outbreak of the First World War. The famous American shootist Walter Winans describes Gastinne Renette's weapons as the best in the world in his book 'The Art of Revolver Shooting' and highly recommended the galleries for lessons and practice. These breech-loading pistols were designed with indoor gallery use in mind as they only fire a relatively small charge resulting in a low velocity shot which would not damage the back-stop nor create great clouds of smoke after each shot. The action itself appears to be a refinement of the Ghaye patent action of circa 1855.
Lot 1321
J. PURDEY & SONS -A PAIR OF 12-BORE SELF-OPENING SIDELOCK EJECTORS, serial no. 17783 / 4, 30in. Whitworth-steel nitro chopperlump barrels (wall thicknesses marginal) with matt game ribs, 2 1/2in. chambers, bored approx. imp cyl and 3/4 choke, articulated front triggers, removable striker discs, arrow cocking-indicators, bright finish overall, 14 1/4in. highly-figured semi-pistolgrip stocks including leather-covered buttpads, weight 6lbs. 13oz., in their brass-cornered oak and leather case with canvas outer, the case bearing the crest of a back to back 'D' surmounted by a Ducal crown. The maker's have kindly confirmed that the guns were made in December 1906 for Prince Paul Demidoff Provenance: The Demidof dynasty was one of the wealthiest and most powerful industrial families in Russia. The founder, Nikita Demidof (1656 -1725) was a free blacksmith from Tula. His guns found favour with Peter the Great and such was the relationship that formed, he was to become the main provider of arms to the Russian Army and in 1720 he was ennobled . The family expanded its interests in metallurgy and mining and by the end of the 18th century, they were responsible for the manufacture of 40 percent of Russian cast iron (the Palace of Westminster was constructed using Demidof metal products). With the growth of their industrial might, the Demidof family became great exponents of political, cultural and educational advancement by setting up academies, amassing a world class art collection and founding an annual prize for Russian literature. After the revolution, with Russian society and its religious orders in disarray, it was Prince Paul Alexandrovitch Demidof who would play a key role in the re-establishment of the Russian Grand Priory of The Order of St. John of Jerusalem in exile. He is listed as "ancient officer du reg. des chevaliers gardes, commandant Hereditaire de L'Ordre de Malte" in the Almanach de St Petersburg 1913-14. Membership of the priory was by lineal descent established by Emperor Paul I and as a hereditary Commander, he along with the thirteen other surviving Commanders re-established the activity of the Russian Grand Priory of the Order of Malta in Paris, by virtue of their inviolable privilege as Russian nobility (the 'Union de la Noblesse Russe' having been ratified under French Law in 1926). The Order of St John of Jerusalem was established by Brother Gerard as a separate Order from an existing Benedictine Establishment of Hospitallers, its main purpose being to provide for pilgrims visiting Jerusalem. Given papal independence by Pascal II in 1113 it became an independent monastic Order and then evolved into an Order of Knights, participating in the crusades alongside the Knights Templar and the Teutonic Knights. Their base was established in Rhodes in 1312 where it ruled as a sovereign power before then moving to Malta in 1530 as a feudal power. The Order of St. John was very successful in recruiting members of the European aristocracy and consequently were took control of many wealthy estates throughout the continent -many of which had previously been under the influence of the Knights Templar (having co-existed initially, the Order helped to destroy the Knights Templar in the early part of the 14th century, their leaders being burned alive as heretics) Napoleon's occupation of Malta in 1798 saw the Order dispersed, but many of the Knights sought refuge in St Petersburg. Here they elected the Russian Emperor, Paul I as their Grand Master. As Grand Master he created a Russian tradition within the Hospitaller Order, the "Russian Grand Priory" open to all Christians and following the tradition of St John. And in 1810 / 11, after Imperial Decrees by Alexander I of Russia, the Order was recognised and given full fiscal and legal separation from the main Roman Catholic hierarchy
Lot 1
Sheila Fell (1931-1979), an oil painting on canvas "Potato Field Aspatria (Brayton Road) 1970-72", 19.5ins. x 23ins., framed, signed. (see illustration). Provenance: Purchased by the current vendor directly from Sheila Fell and exhibited at "A Tribute to Sheila Fell" September 1981, Abbott Hall Art Gallery and with label verso.
Lot 18
* Forster (Edward Morgan, 1879-1970). Two autograph letters signed, West Hackhurst, Abinger Hammer, Dorking, 10th January and 19th January, 1944, to Sir Hector Hetherington, the first thanking him for his letter and saying how he looks forward to the honour of delivering the W.P. Kerr Lecture, saying that it is unlikely he can give the Lecture next month and he has not decided on the subject, suggesting the end of April, or better still the summer or the autumn, asking for the text of Lord David Cecil's Lecture if at all possible, so that he 'may judge what latitude I may have in my choice of a subject ... recently I have been thinking over the development of English Prose, between the last war and this war, also about the future of art in the centralised state ... Thirdly, a year ago, I did some historical reading about the 4th and 5th century AD, with the object of finding parallels between the break up of civilisation then and its break up or transformation now', suggesting that "Penetrabis ad Urbem?" might be the title and apologising for the somewhat lengthy letter; the second letter thanking Sir Hector for his letter of January 12th and concluding that the development of Prose between the Wars would be the best subject, that he gave a lecture on those lines the previous year for the L.C.C., and wondering whether there would be any objections to recasting this material for the Glasgow Lecture, 'If you think this choice permissible, what title do you think appropriate? With a Scottish audience it is probably better to avoid the word English', and suggesting 27th and 28th April as possible dates, pin holes to left margins, both 2 pp., 4to (2)
![* Wharton (Edith, 1862-1937). Autograph letter signed 'E. Wharton', 53 rue de Varenne, [Paris], 31st December 1910, To John,](http://lot-images.atgmedia.com/SR/10729/2714160/22-65-10729_468x382.jpg)
Lot 22
* Wharton (Edith, 1862-1937). Autograph letter signed 'E. Wharton', 53 rue de Varenne, [Paris], 31st December 1910, To John, wishing him best wishes for the New Year, and the Newcastle, if he goes, 'When you wrote me that you were sending a book of Ballads which was "improper reading", my spirits rose, & I fell upon it with avidity. But on perusing L's preface I learned to my dismay that he had personally seen to it that not a line or syllable of the original subsided "which boy & maid may not read". As I fall under neither of these categories, I felt that he need not have taken so [?] trouble in my behalf; but when (at his request) I turned to the "bracketed" lines in Glasgerion & Young Hunting, & saw that "He kissed her in the red fire-light" had been substituted for language of which I dare not even think (judging from the context), I realised how thoughtful you had been in selecting for me this expurgated edition of the songs of our rude ancestors. I trouble to think what I have escaped, when such indelicate allusions are still left & though I shall always value your kindness in sending me the book, I trust you will not expect me to leave on the drawing-room table a work in which such distressing instances of female weakness are celebrated with all the fallacious charms of art. It would certainly do you no good at Newcastle if it were known that you were in the habit of sending to ladies poems in which kissing in the red fire-light is regarded as a comparatively innocent pursuit!', then asking for a letter with news and concluding if there is any chance of his going down to Rome en-route for Newcastle, 4 pp., 8vo (1)
Lot 51
Morris (William). The Roots of the Mountains Wherein is Told Somewhat of the Lives of the Men of Burgdale Their Friends Their Neighbours Their Foemen and Their Fellows in Arms, 1st ed., printed by the Chiswick Press, 1890, partly unopened, untrimmed edges foxed, orig. large honeysuckle print cloth, some unexceptionable faint foxing, spine gilt lettered, sm. 4to. Buxton Forman 109. Limited edition of 250 copies. The only book published in Morris & Co. cloth. Inscribed 'To Albert Fleming in remembrance of today's anniversary August 25th 1890 From George Allen.' George Allen was a pupil in John Ruskin's evening drawing classes at the Working Men's College from 1854. The son of a Nottinghamshire publican, he had been apprenticed to a builder uncle, and was working as a carpenter. Enthused and encouraged by Ruskin, who saw in him an innate disposition to art, Allen declined employment with William Morris's firm in order to devote himself to Ruskin's service as his assistant and most reliable engraver, becoming Ruskin's publisher in 1870. Albert Fleming was also a friend of John Ruskin, and a fellow trustee of the Guild of St. George, founded to assist craft workers establish their business. Ruskin and Fleming, as part of the Guild, were instrumental in restoring a spinning and weaving industry on the Isle of Man. This led to the production of what became known as 'Ruskin Lace', a distinctive combination of cut linen work, drawn thread and needle-made lace, which techniques were eventually taken to Keswick, Kendal and elsewhere. (1)
Lot 188
Tagore (Rabindranath). The Golden Book of Tagore. A Homage to Rabindranath Tagore from India and the World in Celebration of his Seventieth Birthday. Edited by Ramananda Chatterjee, Calcuta, 1931, 750/1500 copies, thirty plates, some of them coloured, orig. yellow cloth, paper labels, slightly soiled, in the chipped d.j., folio, together with Penzer (Norman M.), Nala & Damayanti, 1926, limited to 1000 copies, this copy un-numbered, ten coloured plates by P. Zenker, orig. cloth-backed boards, 8vo, and O'Connor (V. C. Scott), The Charm of Kashmir, 1920, sixteen tipped-in coloured plates, twenty-four plates from photographs, some foxing, orig. white cloth, gilt, spine soiled, 4to, and five others, Indian tales and art (8)
Lot 339
Allen (Daphne, 1899-1985). A collection of original artwork, approx. 260 pencil sketches, pen and ink drawings, and watercolours, mostly religious, mythological and fairy subjects, approx. 390 x 280 mm and smaller, together with a number of old newspaper cuttings relating to the artist. Daphne Constance Allen was born at Stamford Hill, London, and was taught to paint by her parents. Her father, publisher Hugh Allen, was a well-known painter himself. Daphne wrote and illustrated two books as a child: 'A Child's Visions' (1912) and 'The Birth of the Opal' (1913), and showed a hundred of her works at her first exhibition - at the Dudley Galleries - at the tender age of 13. Her precosity caused a sensation in London, and debate raged over whether or not she was especially talented. She was hailed by many as a 'child genius', and art critic Mr. C. Lewis Hind wrote in the introduction to her first book: 'As a bird sings, so these drawings were made - merely from an impulse for expression. They show no sign of effort, because they are all done in joy, without self-consciousness... I can only express my astonishment that such facility, imagination, and variety should proceed from a child'. Others, however, were less delighted with the young artist's talent and celebrity. For example, Anthony Ludovici wrote: It is bad enough that a pack of hydrocephalous and gushing adults should be found to every attractive or moderately talented child in the British Isles... but when a lot of grown-up men, with Sir Claude Phillips at their head, join their hymns of praise to the rest, and write pompously about this child's nursery productions, as if they really constituted a serious event in the art world, it is time to protest... " ('The New Age', October 9th, 1913). Ultimately Daphne Allen defied both sets of critics and went on to neither wide-acclaim nor obscurity. She became a reasonable artist, who painted and drew mainly fairies and religious subjects, and worked as an illustrator for many magazines, including 'The Illustrated London News', 'The Sketch', and 'The Tatler'. Much of the work here appears to be the product of her earliest years, and as such is an interesting archive showing in some measure the development of her work. (a folder)
Lot 344
Browne (Anthony, 1946-). "Home Sweet Home", 1998, orig. watercolour, of two terraced house, with an aproned housewife at one front door, and two large yellow eyes (of a gorilla?) peeping out of an upstairs window, signed and dated to lower right-hand corner, loose printed title label, approx. 145 x 100 mm. Anthony Browne studied at the Leeds College of Art, and began illustrating books in 1981. Gorillas feature in much of his work, and his book 'Gorilla' won the prestigious Kate Greenaway medal. In 2000, he received the highest international honour for illustration, the Hans Christian Andersen Award, for his services to children's literature - the first British illustrator to win the prize since 1956. (1)
Lot 350
Cauty (Jimmy, b.1956). "Escaping from the Zomby Wolf"/"The Bust", two orig. pen and ink drawings with coloured crayon, on one sheet, the lefthand illustration of a snowy rooftop scene with Santa Claus in the chimney, and several elves heaving Santa's sack up the sloping roof, the righthand image with a old white-bearded man outside his snow-clad cottage, eyeing two cloaked figures warily, each image titled to top margin and signed to the lower righthand corner, approx. 360 x 460 mm, mounted, framed and glazed. Possibly referencing the Frank Zappa song 'The Zomby Woof' (Over-Nite Sensation, 1973). British artist and musician, Jimmy Cauty, is best known as one half of the hit-making duo 'The KLF'; as co-founder of 'The Orb' and a leading innovator in the birth of the ambient house genre; and as the man who burnt one million pounds with Bill Drummond on the Scottish island of Jura. Art school-trained Cauty's figures and landscapes are Tolkienesque, and are carefully drawn and meticulously detailed. As a 17-year old, he created a 'Lord of the Rings' poster (and later, a counterpart based on 'The Hobbit'), for British retailer Athena, which became one of their best-selling posters. (1)
Lot 493
Tolkien (J.R.R.). The Fellowship of the Ring / The Two Towers / The Return of the King, 1st ed., pub. George Allen & Unwin, 1954/5, Richard Adams's copy, with his ms. ownership signature and bookplate to each vol., and a few pencilled annotations in his hand, folding map to each, a.e.g., recent scarlet crushed morocco for Asprey, with orig. cloth covers bound in at rear of each vol., spines with gilt dot dec. raised bands, gilt lettered direct on a seme dot ground in second and third compartments, remainder with art nouveau flower tool surrounded by seme dots within double fillet frame, covers with gilt single fillet border, inner dot-filled double fillet border, with stylised flowers at corners, central single fillet panel filled with dots and roundels, with scabious flower at centre of each side, single fillet to board edges, gilt dec. turn-ins, 8vo. With six pages of important manuscript notes by Richard Adams, in which he pours out his thoughts about Tolkien's work and compares it to his own, in a free-flowing hand, with numerous additions and underlinings. He calls Gollum a 'marvellous conception... the awful, unacceptable outsider, who nevertheless is of huge value', and compares him to others who he sees as similar figures, such as Van Gogh, Shelley, Nelson, Emmeline Pankhurst and John Wesley. He goes on to say that Tolkien did not influence his own work, but changes his mind as he writes: 'I don't care for Magic and don't resort to it at all... I can't think of any respect in which Tolkien has influenced me. Afterthought. What about "The Girl in a Swing?" Supernatural. M.R. James?'. Adams expresses his disappointment that there are only two female characters in "Lord of the Rings" - Galadriel and Eowen - neither of whom, he says, exactly represent real Womanhood: '(I'm sure that Women's Lib. don't care for the overwhelmingly masculine tone of the conflict and the characterisation.) "Ask Germaine Greer?" (And "Watership Down" has been criticised for this. But the whole W.D. story hinges on the necessity of the female to a true society.)' Adams concludes that his feelings about "Lord of the Rings" echo Dr. Johnson's about "Paradise Lost": '"No man ever wished it longer"'. (3)
Lot 395
Thomson (John & Co., pub.). A New General Atlas, consisting of a Series of Geographical Designs, on Various Projections..., Edinburgh, 1821, two uncoloured diagrams, 50 engraved maps only (of 74), mostly double-page and all hand coloured in outline, brown damp stain to lower part of volume throughout, contemp. boards, together with the remains of an A.K. Thomson World Atlas and other plate books including a broken volume of an 18th century encyclopedia with numerous folio engraved plates, architectural designs, broken volumes of The Vernon Gallery of British Art, State of War in the East, etc. (17 volumes)
Lot 602
Nisbet (Alexander). A System of Heraldry, Speculative and Practical: with the True Art of Blazon, According to the Most Approved Heralds in Europe..., 1st ed., Edinburgh, 1722, numerous eng. plts. of armorials, two leaves of pencil drawings of armorials tipped-in, bookplate pasted to title verso with some consequent creasing, modern morocco, spine faded, folio, together with Philipott (Thomas), Villare Cantianum; or, Kent Surveyed and Illustrated..., 2nd ed., Lynn, 1776, folding eng. frontis. (lined to verso), one eng. plt., 20th c. half calf, folio (2)
Lot 656
Moxon (Joseph). Mathematicks made Easie: or, a Mathematical Dictionary, Explaining the Terms of Art, and Difficult Phrases used in Arithmetick, Geometry, Astronomy, Astrology, and other Mathematical Sciences..., 2nd ed., corrected & enlarged, 1692, four eng. plts. (1 folding & 1 double-page), lacks port. frontis., contemp. signature of Griffith Boynton to title, contemp. blind panelled sheep, joints cracked and slight wear to extrems., 8vo (1)
Lot 685
Heal (Ambrose). The English Writing-Masters and their Copy-Books, 1570-1800. A Biographical Dictionary & a Bibliography, with an Introduction on the Development of Handwriting, by Stanley Morison, pub. CUP, 1931, b & w ports. and specimens of handwriting, t.e.g., remainder rough-trimmed, orig. cloth gilt in torn d.j., folio, (limited edition 5/300, signed by Ambrose Heal), together with Williamson (Dr. G.C.), The Book of Famille Rose, 1st ed., 1927, num. col. and b & w illusts., t.e.g., orig. cloth gilt, a little rubbed, 4to, (750 copies printed), plus Henrey (Blanche), British Botanical and Horticultural Literature Before 1800, comprising a History and Bibliography of Botanical and Horticultural Books Printed in England, Scotland, and Ireland from the Earliest Times until 1800, 3 vols., OUP, 1975, col. and b & w illusts., orig. cloth gilt with slipcase, large 8vo, and other various bibliography and art ref., etc. (32)
Lot 693
Ometev (Boris & Stuart, John). St. Petersburg, Portrait of an Imperial City, 1990, b&w illusts. from photos., together with Briggs (Asa & Miles, Archie), A Victorian Portrait, Victorian Life and Values as Seen Through the Work of Studio Photographers, 1st ed., 1989, colour and b&w illusts. from photos., plus Fahey (David & Rich, Linda), Masters of Starlight, Photographers in Hollywood, 1st UK ed., 1987, b&w illusts. from photos., all orig. cloth in d.j.s, 4to, VG, plus other mostly modern art and history of photography books including a complete run of Reportage Magazine, with some duplicates (approx. 50)
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