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Lot 10
A pair of Copeland Parian busts of Edward, Prince of Wales and Princess Alexandra19th centuryEach inscribed Crystal Palace Art Union to the base, with the Prince of Wales example further inscribed to the reverse MARSHALL. WOOD. SCULP. 1863., and the other indistinctly marked, probably for F.M Miller 1863, the larger: 19cm wide, 14.5cm deep, 31cm high (7in wide, 5 1/2in deep, 12in high) Footnotes:These busts were issued as a pair on the engagement of the Prince and Princess of Wales in 1863 and re-issued for some years. The Princess wears earrings in the earlier of the two versions made, as in the present Lot. Marshall Wood (d. 1882) was an artist and sculptor who designed several statues for colonial centres, including statues of the Queen for Melbourne, Sidney, Calcutta and Ottawa.Felix Martin Miller (b. 1820) was brought up in the London Orphan School and joined the RA Schools in 1842. Works by Miller, included in the RA and other exhibitions from the early 1840s until c. 1880, were inspired above all by Shakespeare and Milton. His principal patron was John Foley.Literature: Paul Atterbury, The Parian Phenomenon: A Survey of Victorian Parian Porcelain Statuary & Busts, pp.182-3, fig. 597 and 601, and p. 262 & 264.For further information on this lot please visit Bonhams.com
Lot 141
CONDER (JOSIAH)Landscape Gardening in Japan, 2 vol. including Supplement, FIRST EDITION, volume 1 with 37 plates (12 tinted lithographs) and illustrations, Supplement with 40 collotype plates by Ogawa Kazumasa, publisher's pictorial green cloth, upper covers blocked in gilt, lower in blind, extremities rubbed, Tokyo, 1893; The Floral Art of Japan: Being a second and revised Edition of The Flowers of Japan and the Art of Floral Arrangement, 69 plates including 14 coloured woodblocks, publisher's decorative cloth gilt, slight soiling, Tokyo, Kelly and Walsh, 1899, folio (3)Footnotes:Provenance: William Arkwright, ownership signatures dated 1908.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
Lot 160
HEREFORDSHIREManuscript notebook bearing the names of 'David James' and 'William James', the first seven leaves with copies of legal documents relating to Herefordshire in several hands and other notes including a page of arithmetic, continuing with a prayer signed 'David James', the remainder taken up with a detailed commentary and exegesis on the Lord's Prayer beginning 'Our father which art in heaven...' and other religious texts; nineteenth century letter regarding the 'curious vol relating to Hereford' tipped into front, 126 leaves, several leaves excised, dust-staining, ink blots, marks and small tears, original vellum, marked and worn, 4to (195 x 145mm.), c.1632 onwardsThis 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
Lot 175
LAURENCE (JOHN)The Clergy-Man's Recreation: Shewing the Pleasure and Profit of the Art of Gardening, third edition, engraved frontispiece, Bernard Lintott, 1715; The Gentleman's Recreation: or the Second Part of the Art of Gardening Improved. Containing... Curious Observations relating to Fruit-Trees: Particularly, a New Method of Building Walls with Horizontal Shelters, FIRST EDITION, engraved frontispiece and 3 folding plates, Bernard Lintott, 1716, 2 parts in 1 vol., contemporary panelled calf, red morocco spine label, spine ends repaired [Henrey 935 & 942], 8voThis 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
Lot 176
LAURENCE (JOHN)The Clergy-man's Recreation: Shewing the Pleasure and Profit of the Art of Gardening, sixth edition, Bernard Lintot, 1726; The Gentleman's Recreation: or the Second Part of the Art of Gardening improved, third edition, Bernard Lintot, 1723, 2 parts in 1 vol., engraved portrait frontispiece to part 1, frontispiece to part 2, and 4 folding plates, a few woodcut illustrations, ownership inscriptions of Joseph & henry Brock, blind-stamps of 'IHA', contemporary calf, paper spine labels, worn [Henrey 938, 944 & 939]--[RAPIN (RENE)] Of Gardens. A Latin Poem... translated by James Gardiner, second edition, engraved portrait and 3 (of 4) folding plates, contemporary panelled calf [Henrey 1254], W. Bowyer, [1718], 8vo; and 2 others (4)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![M[ORTIMER] (J[OHN])The Whole Art of Husbandry, FIRST EDITION, contemporary calf, gilt panelled spine (defective at ends)[EST](https://cdn.globalauctionplatform.com/5746212e-195e-47ce-8a3a-af200111fa2c/99cb0556-dce1-4a43-83b8-af2001164455/468x382.jpg)
Lot 179
M[ORTIMER] (J[OHN])The Whole Art of Husbandry, FIRST EDITION, contemporary calf, gilt panelled spine (defective at ends)[ESTC T72675], J. H. for H. Mortlock and others, 1707--WORLIDGE (JOHN) Dictionarium rusticum, urbanicum & botanicum: or, a Dictionary of Husbandry, Gardening, Trade, Commerce, and All Sorts of Country Affairs, second edition, 2 engraved plates (one folding, browned), woodcut illustrations, contemporary panelled calf, joints cracking, extremities worn, J. Nicholson, 1717--[MARSHALL (WILLIAM)] Planting and Ornamental Gardening; A Practical Treatise, contemporary half calf, spine worn [Henrey 1228], J. Dudley, 1785--FARLEY (JOHN) The London Art of Cookery, tenth edition, staining and foxing, frontispiece torn and slightly defective, contemporary sheep, rebacked, worn, Scratcherd & Letterman, 1804, 8vo (4)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 18
Maud Earl (British, 1863-1943)'White Light (No 2)' - a pointer catching the scentSigned and dated 'Maud Earl/1910(?)' (lower right) also signed and inscribed to the reverse with the title and artist's address '(Miss) Maud Earl / 8 Elm Tree Road, London NW' Oil on canvas 144 x 112cm (56 11/16 x 44 1/8in).Footnotes:'Miss Earl; a lady who, in addition to her other qualifications, combines enthusiasm for the pointer with an intimate knowledge of his anatomy' - William Arkwright, The Pointer and his Predecessor, pub.1902, p. 219.One of the most successful canine portraitists of her day, Maud Earl was born in 1863 into a family of painters. Beginning her training with her father, the acclaimed animal artist George Earl, Maud later studied at the Royal Female School of Art in 1882 before exhibiting her first work at the Royal Academy in 1884. With a clear skill and sensitivity to the specific requirements of painting pure-bred dogs, Earl rapidly developed a 'who's who' of clients keen to commission portraits of their champion and prize hounds. Indeed, permission was granted to paint one of Queen Victoria's White Collies at Windsor Castle in February 1897 which led to the Prince and Princess of Wales selecting one of their favourite dogs for a portrait too.The present Lots are fine examples of Earl's early style of painting which made her so popular, in which the dog is placed within a recognisable landscape or interior. In later works, this background almost completely fades away thus forcing the viewer to focus entirely on the dog in question.This Lot is of specific interest to the present Collection. Born 1st February 1906 by Wilful Dan ex (out of) Leader, White Light was one of William Arkwright's (1857-1925) best Pointers, in fact he is reported to have thought she was 'the most perfectly shaped Pointer that he has ever seen.'William, of Sutton Hall, Sutton Scarsdale, Derbyshire, was the great-grandson of Richard Arkwright and a cousin to the Arkwright family that lived at Kinsham Court. He held a particular interest in the breeding of Pointers and was considered the authority on the breed, particularly after his publication of The Pointer and His Predecessor in 1902 (see Lots 124, 125 and 126 for copies of the book). It is likely these paintings came to Kinsham Court as a result of William's death. He had no children and, on his death, he made Jack's son John RS Arkwright his residuary legatee. When artist and fancier first met is unclear, however Earl's 1902 exhibition British Hounds and Gundogs at the Graves Gallery in London is said to owe its inception to Arkwright who was founder of the International Gun Dog League.Arkwright clearly considered Earl the finest artist of the day to detail the characteristics of one of his most prized dogs.With thanks to the Kennel Club and Catherine Beale for their guidance and research on this lot.Literature:On the relationship between Maud Earl and William Arkwright, please see the following:A. Croxton Smith, The Power of the Dog: Twenty Plates in Colour by Maud Earl, Hodder and Stoughton.H. Cox, Dogs, By Well-Known Authorities, 1906, Vol II, p. 5.E. Miriam Garden, The Field of Art: Miss Maud Earl and her Pictures, October 5 1899, in Ladies' Field 1899, Vol. 2, pp. 186-188.William Secord, Dog Painting 1840-1940: A social history of the dog in art, Antique Collector's Club, 1992.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 19
Maud Earl (British, 1863-1943)'Largo' - a pointer in a hallwaySigned and indistinctly dated 'Maud Earl/1911(?)' (lower left), also signed and inscribed on the reverse with the name of the pointer and '(Miss) Maud Earl / 8 Elm Tree Road, London NW' Oil on canvas 165 x 121cm (64 15/16 x 47 5/8in).Footnotes:'Miss Earl; a lady who, in addition to her other qualifications, combines enthusiasm for the pointer with an intimate knowledge of his anatomy' - William Arkwright, The Pointer and his Predecessor, pub.1902, p. 219.One of the most successful canine portraitists of her day, Maud Earl was born in 1863 into a family of painters. Beginning her training with her father, the acclaimed animal artist George Earl, Maud later studied at the Royal Female School of Art in 1882 before exhibiting her first work at the Royal Academy in 1884. With a clear skill and sensitivity to the specific requirements of painting pure-bred dogs, Earl rapidly developed a 'who's who' of clients keen to commission portraits of their champion and prize hounds. Indeed, permission was granted to paint one of Queen Victoria's White Collies at Windsor Castle in February 1897 which led to the Prince and Princess of Wales selecting one of their favourite dogs for a portrait too.The present Lots are fine examples of Earl's early style of painting which made her so popular, in which the dog is placed within a recognisable landscape or interior. In later works, this background almost completely fades away thus forcing the viewer to focus entirely on the dog in question.This Lot is of specific interest to the present Collection. Born 25 February 1901, by Lorne (sire) out of First Fiddle (dam), Largo was one of William Arkwright's (1857-1925) top Pointers. William, of Sutton Hall, Sutton Scarsdale, Derbyshire, was the great-grandson of Richard Arkwright and a cousin to the Arkwright family that lived at Kinsham Court. He held a particular interest in the breeding of Pointers and was considered the authority on the breed, particularly after his publication of The Pointer and His Predecessor in 1902 (see Lots 124, 125 and 126 for copies of the book). It is likely these paintings came to Kinsham Court as a result of William's death. He had no children and, on his death, he made Jack's son John RS Arkwright his residuary legatee. When artist and fancier first met is unclear, however Earl's 1902 exhibition British Hounds and Gundogs at the Graves Gallery in London is said to owe its inception to Arkwright who was founder of the International Gun Dog League. Additionally, Earl's only sculpture is of Largo, executed in bronze in 1905 and presented by Arkwright to the Swedish Pointer Club in 1906. Arkwright clearly considered Earl the best artist of the day to detail the best characteristics of one of his most prized dogs.With thanks to the Kennel Club and Catherine Beale for their guidance and research on this lot.Literature:On the relationship between Maud Earl and William Arkwright, please see the following:A. Croxton Smith, The Power of the Dog: Twenty Plates in Colour by Maud Earl, Hodder and Stoughton.E. Miriam Garden, The Field of Art: Miss Maud Earl and her Pictures, October 5 1899, in Ladies' Field 1899, Vol. 2, pp. 186-188.William Secord, Dog Painting 1840-1940: A social history of the dog in art, Antique Collector's Club, 1992.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 28
David Cox Snr. O.W.S. (British, 1783-1859)A towpath and travellerSigned and dated 'David Cox 1836' (lower left) Watercolour 17 x 23cm (6 11/16 x 9 1/16in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 29
David Cox Snr. O.W.S. (British, 1783-1859)A Welsh church and churchyardWatercolour and pencil 27 x 37cm (10 5/8 x 14 9/16in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 30
David Cox Snr. O.W.S. (British, 1783-1859)Chepstow Castle and the River Wye, a studyWatercolour 24 x 32cm (9 7/16 x 12 5/8in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 32
David Cox Snr. O.W.S. (British, 1783-1859)A stream, two children on the rocky banks and wooded hillside, autumnIndistinctly dated (lower left) Watercolour and pencil 27 x 41cm (10 5/8 x 16 1/8in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 33
David Cox Snr. O.W.S. (British, 1783-1859)On the Welsh coast in a calmWatercolour 24 x 35cm (9 7/16 x 13 3/4in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 34
David Cox Snr. O.W.S. (British, 1783-1859)The ancient yew tree, Beddgelert churchyardWatercolour and stump 27 x 37cm (10 5/8 x 14 9/16in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 35
David Cox Snr. O.W.S. (British, 1783-1859)Rock, arched bridge and trees on a windswept dayWatercolour 27 x 36cm (10 5/8 x 14 3/16in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 36
David Cox Snr. O.W.S. (British, 1783-1859)Man by a riverside, Wales, thought to be Aberglaslyn PassWatercolour and pencil 27 x 38cm (10 5/8 x 14 15/16in).Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 37
David Cox Snr. O.W.S. (British, 1783-1859)Wind blown trees, with another painting on the reverse, landscape, Watercolour, in a double sided frame 64 x 44cm (25 3/16 x 17 5/16in).Together with another, a Snowdonia mountain landscape by another hand (2)Footnotes:David Cox (senior) was one of the founders of the British school of watercolour painting. A generation of artists, including Turner, Constable, Thomas Girtin, John Sell Cotman, Peter De Wint, John Varley and David Cox created a direct and immediate style which conveyed their personal responses to the scenery they painted. This is regarded as one of Britain's most important contributions to visual art.In the autumn of 1814 David Cox took up a position as drawing master at Miss Croucher's School for Young Ladies in Hereford. In Hereford, Cox reached artistic maturity and some financial stability. His teaching commitments were not onerous, enabling him to explore the surrounding countryside and take private pupils. Cox's arrival in Hereford corresponds almost exactly with that of John Arkwright (1785-1858, grandson of Sir Richard 1732-1792) who asked his father for permission to reside at Hampton Court in 1814, four years after his father had bought the estate. He moved from Derbyshire to Herefordshire soon after that date. Given that Cox went on to teach in Leominster immediately north of Hampton Court, and that Turner had painted Hampton Court in the 1790s, it is most likely that Cox would have wanted, at the very least, to visit as he passed so close by and to see for himself the views that Turner had captured. Cox and his family left Hereford for London in 1827. Watercolour paintings by David Cox (presumably at least some of those in this sale) are mentioned in surviving Arkwright correspondence. John Arkwright's eldest son, John H 'Jonny' Arkwright seems to have had an interest in acquiring some of Cox's work in 1859, the year after he had inherited Hampton Court. In 1859, Jonny's widowed mother, Sarah Arkwright wrote to him from Gwernvale, near Glanusk to commiserate with him at the loss of David Cox's pictures but she was sure he would get some others one day. It appears that Johnny had been trying to purchase some pictures by Cox and had perhaps been an underbidder.Sarah Arkwright took her younger children to North Wales on holiday after their father's death (the trip in September-October 1858 included Caernarvon, Llanberis and Beaumaris). If scenes painted by Cox were bought by the Arkwrights, it is no surprise that North Wales should feature prominently.On 19th May 1876, Johnny wrote to his wife Lucy 'I have got all the Coxs on the Morning Room wall even yours & they look very fine.' It is most likely that Jonny is referring to the Cox pictures offered in the forthcoming sale. The mention of Lucy having paintings by Cox is interesting. Lucy (c1840-1904) was nee Davenport of the Foxley estate, Herefordshire, famous for its connections with Uvedale Price (from whom Lucy's father bought the estate in 1856) and the Picturesque landscape movement. Lucy was a good amateur artist and it may well be that Cox painted some scenes around Foxley or Yazor, and that her family acquired some, which Lucy (having a particular interest in painting) took with her to Hampton Court upon her marriage in 1866.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 68
A late 17th century kingwood, rosewood and gilt brass mounted strong box or coffre-fortThe fleur-de-lis and foliate pierced strapwork hinged top enclosing a void interior with a drop-down front revealing two drawers with Macassar ebony linings, 49cm wide x 30cm deep x 28cm high, (19in wide x 11 1/2in deep x 11in high)Footnotes:It is possible that many of the late 17th century items in the sale were purchases and commissions for Thomas, first Earl Coningsby at Hampton Court Castle. In the 1690s, Coningsby remodelled Hampton Court at the same time that King William and Queen Mary were building the new wing, designed by Wren, at Hampton Court Palace. The changes turned Coningsby's inward-looking, defensible medieval manor house into a regional palace, looking out over its estate, with far-reaching views. Suites of rooms enfilade along the south front included one for the King (in red silk damask) and another for the Queen (in blue) including elaborate beds possibly by the King's maker Daniel Marot. Coningsby's King's bed is today on display at William and Mary's palace Het Loo, in the Netherlands; one of the chairs made for the same room is today, appropriately, in the King's apartments at Hampton Court Palace. With thanks to Catherine Beale for her historical guidanceA similar example was sold at Christie's, London, The Raglan Collection: Wellington, Waterloo and The Crimea And Works of Art from the Collection of the Marquesses of Londonderry, 23 May 2014, Lot 154.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 69
Studio of Joseph Wright of Derby (British, 1734-1797)Portrait of Sir Richard Arkwright, full-length, wearing a brown coat and yellow waistcoat, seated beneath a red curtain beside a table on which is a set of cotton spinning rollers Oil on canvas244 x 152.5cm (96 1/16 x 60 1/16in).UnframedFootnotes:The present composition is derived from the prime version by Joseph Wright of Derby, which was destined for Bakewell, the residence of the sitter's son, Richard Arkwright Junior, and delivered there before 3rd March 1790 (see: B. Nicolson, Joseph Wright of Derby, no. 323, when in the collection of Col. Peter Arkwright, and now on loan to the Derby City Art Gallery). Nicolson pointed out that Wright's vision of the industrialist is 'the same as that of Carlyle, who describes Arkwright as that 'plain, almost gross, bag-cheeked, pot-bellied Lancashire man, with an air of painful reflection, yet also of copious free digestion ...'' He also suggested that it was perhaps 'because aspersions had been cast on his qualifications as an inventor, he preferred to be shown accompanied, not by a plan of his industrial empire, the creation of his own undoubted genius, but by a model of the spinning frame he claimed to have invented ...' What Nicolson describes as 'This beautiful fragment of still life', which is a focal point of the present portrait, was 'the one object Wright guarded in his studio from romping sons, daughters and nieces – it is a faithful replica of the machine that revolutionised the cotton industry and remained the basic model for generations: consisting of a wheel which sets in motion the pairs of rollers of increasing rapidity of rotation, resulting in the production of a hard and firm thread calculated for warps, just as Hargreaves's spinning jenny was adapted for spinning weft, so that the two machines, in spite of occasionally coming into conflict, together transformed the economic structure of England.' (see fig. 1). Richard Arkwright (1732-92) came of a poor family in Preston and settled as a young man in Bolton as a barber, but later moved to Nottingham in 1768, then the centre of the manufacture of cotton hosiery, a profession in which he saw better prospects of developing his gifts as an organiser. Here he was provided with sufficient funds by Jedediah Strutt (see Lot 73) and Samuel Need to improve existing machinery for the manufacture of cotton and to run a cotton factory by horse power. Three years later he moved to the then unexploited district of Cromford near Matlock, where he built in partnership with Strutt and Need the nucleus of the Cromford Cotton Mills, to be run by water power. This move has been described as one of the turning-points in the history of the factory system. As well as Arkwright's social ambitions in the upcoming neighbouring spa town of Matlock Bath, he also had ambitions as an inventor, and during these early years at Cromford was engaged in perfecting a water spinning frame and improving on traditional methods of carding cotton. His enterprises were later to extend to Matlock, Bakewell and elsewhere, including on the banks of the Clyde. By the late 1780s he had been honoured with a knighthood and the Sheriffdom of the County of Derby, dying in 1792 one of the richest commoners in Britain. Sir Richard's legacy has divided opinions from the time of early eulogies that praised his achievements, combined with the controversy relating to the patents over his 'inventions'. Yet Arkwright's defeat in the patent trials should not detract from his skills as a businessman and an innovative production manager and the surviving Cromford machines are testimony to Arkwright's perseverance and the machine maker's art. The mill style Arkwright adopted, became, for a time, the industry's pattern. His biographer in the Oxford Dictionary of National Biographer proclaims him to be 'the archetypal self-made man'. As a master of water power and an imaginative builder 'Arkwright's achievement was to combine power, machinery, semi-skilled labour, and a new raw material to create, more than a century before Ford, mass production.'As per the other Arkwright portraits, this portrait may have been commissioned to replace that which was delivered to Stoke Hall while Willersley was completed. It probably remained at Stoke Hall until the house was sold in 1839. It was certainly acquired by John Arkwright from the home of his brother Charles Arkwright, Dunstall in Staffordshire. Unlike the other portraits (below), this formed part of a sale at Dunstall, after Charles's death in 1850. John's brother Peter wrote to John at Hampton Court, Herefds, 'I saw James the day before the Pictures were to be sold at Dunstall and told him to buy in the portrait of my GFather, expecting you would wish to have it, which you see by the enclosed scrap was done – for £50-'. It most probably arrived at Worcester with the other portraits, around May day 1852. It too is listed as hanging in the Dining Room at Hampton Court, Herefds in the inventory taken after the death of John Arkwright in 1858. '1 do [Portrait] Sir Richard Arkwright full length copy from original by Wright Derby'. It moved with Jack Arkwright from Hampton Court to Kinsham Court, Herefds in 1911, where it hung, without frame, set into the panelling of the first floor Schoolroom. With thanks to Catherine Beale for her historical guidance and research on this lot.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 73
Studio of Joseph Wright of Derby (British, 1734-1797)Portrait of Jedediah Strutt, three-quarter-length, in a green coat and waistcoat, seated at a tableOil on canvas laid down on board 127 x 101.5cm (50 x 39 15/16in).Footnotes:Provenance:The Collection of Col. Walter Evans, by whom offeredSale, Sotheby's, London, 15 June 1960, lot 105, where acquired by the Arkwright familyThe present composition is derived from the prime version by Joseph Wright of Derby (see: B. Nicolson, Joseph Wright of Derby, no. 324, when in the collection of Lord Belper and now in Derby City Art Gallery). Strutt was a cotton spinner, hosier and business partner of Sir Richard Arkwright. The son of a farmer in Derbyshire, Strutt was the inventor in the mid-1750s, in collaboration with his brother-in-law, William Woollatt, of a Derby rib machine which seems to have been an improvement on existing machinery. Strutt conducted a business partnership with Woollat and subsequently a new backer, Samuel Need and then with Arkwright, but only until 1781, by which time both men were powerful enough to stand on their own feet, Arkwright remaining at Cromford, Strutt at Belper and Milford. An epitaph that Strutt composed for himself at the end of his life is revealing about his values: 'Here rests in Peace J.S. – Who, without Fortune, Family or friends raisd to himself a fortune, family and Name in the World – Without having wit had a good share of plain Common Sense – Without much genius enjoyd the more Substantial blessing of a Sound understanding – With but little personal pride despisd a mean or base Action – With no Ostentation for Religious Tenets & Ceremonies he led a life of honesty & Virtue - & not Knowing what would befall him after death, he dyed resignd in full Confidence that if there be a future State of retribution it will be to reward the Virtuous & the Good This I think is the true Character J. Strutt'This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 74
A George III kingwood and fruitwood marquetry dressing tableLouis XV style, in the manner of Pierre Langlois (1718-1767)The double hinged top inlaid with a central medallion of ribbon tied flowers enclosing a fitted interior, damaged, 63cm wide x 48cm deep x 74cm high, (24 1/2in wide x 18 1/2in deep x 29in high)Footnotes:A similar side table in the manner of Langlois was sold at Bonhams, London, Fine Furniture and Works of Art, including the Selected Items with Notable Provenance, 19 October 2011, Lot 120.Pierre Langlois was one of the leading furniture makers working at Tottenham Court Road in the second half of the 18th century. He produced a variety of furniture in the French manner, specialising in commodes, and was particularly known for his marquetry floral designs of bouquets held together with small ribbons. Indeed, his trade card mentions his work is 'made & inlaid in the Politest manner'. The French patterns introduced by Langlois would certainly have influenced the maker of the present Lot.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 75
A George II carved giltwood and gesso Gainsborough type armchairPossibly attributable to Paul Saunders (British, 1722-1771)With scrolled acanthus leaf carved uprights above a serpentine seat on scrolled cabriole legs, later gilded and repaired, 71cm wide x 57cm deep x 98cm high, (27 1/2in wide x 22in deep x 38 1/2in high)Footnotes:Paul Saunders was a well-known upholsterer, tapestry-maker and cabinet-maker who supplied furnishings for both London and country house clients in the 1750s and 1760s. In 1757 he was appointed 'Tapestry Maker to the King' and in 1761 he attained the additional role of 'Yeoman Tapestry Taylor' in the Great Wardrobe, both of which positions he held until his death. Similar upholstered chairs sold at Bonhams include Lot 66, London, New Bond Street, Fine English Furniture, Sculpture & Works of Art, 12 June 2013.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 80
A fine pair of George III satinwood, burr elm, and purple heart marquetry commodesThe serpentine tops inlaid with scrolled acanthus leaves, trailing bellflowers, floral filled cornucopia and insects, one with a later burr elm border, the other with an inlaid border, above panelled doors with a central shaded flower head, enclosing a shelved interior, the sides inlaid with urns and ribbon tied garlands of bell flowers, on parcel gilt turned and fluted tapering legs, possible adaptations to the doors, 122cm wide x 55.5cm deep x 88cm high, (48in wide x 21 1/2in deep x 34 1/2in high) (2)Footnotes:The offered lot relates to a group of commodes associated with the London cabinet-makers William Ince & John Mayhew (1758/9-1804) . The principal examples have been identified by the furniture historians Hugh Roberts, in 'The Derby House Commode', The Burlington Magazine, vol. CXXVII, no. 986, May 1985 and L.Wood in The Lady Lever Art Gallery: Catalogue of Commodes, London, 1994, pp. 195, 203, 210, 217, 222, 226 and 236. The repertoire of ornament featured on the commodes here, typified by ribbon-tied husk swags, fan spandrels, urns and bold central medallions are likewise present on the examples discussed in Roberts and Wood ops. cit. The commodes forming the subject of the above cited articles include a notable pair with ribbon-tied swag marquetry, at Broadlands, Hampshire, which are firmly linked to large payments to William Ince in the 2nd Viscount Palmerston's personal accounts between 1765 and 1797 (see Roberts, op. cit., fig. 23); a commode, in The Lady Lever Art Gallery, Port Sunlight (L. Wood, op. cit., pp. 210-16, no. 24) and an unprovenanced commode in the Victoria and Albert Museum, W.10-1917, illustrated in M. Tomlin, Catalogue of Adam Period Furniture, London, 1972, p. 171 and Roberts, op. cit., fig. 19. A biography of Ince and Mayhew is included in Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers, 1660-1840, 1996 pp. 589-598.The central 'Venus-shell' medallion here also relates to those featured on a pair of card tables at Newby Hall, Yorkshire which were probably supplied by Thomas Chippendale (d.1779). The marquetry scrolling tendril bordering the tops to the Newby card tables have further affinities with the outer top border retained on one of the present commodes (see C. Gilbert, The Life and Work of Thomas Chippendale, London, 1978, vol. I, p. 267, vol. II, figs. 408 & 496). Other furniture with related inlay was supplied by Gillow of London and Lancaster in 1788 (see L. Boynton, Gillow Furniture Designs, Royston, 1995, figs. 12 and 24 and pl.12 and Susan Stuart, Gillows of Lancaster and London 1730-1840, 2008, vol II, pp 14 – 15). A pembroke table with a closely related shell medallion to its top sold Christie's London, 2 May 2002, lot 181.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 113
C. F. A. VOYSEY (1857-1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER FRAMED DESIGN FOR A CARPET, DATED 1900 watercolour and graphite on squared paper, depicting a stylised bird and foliate repeat pattern, signed verso C. F. A. VOYSEY/ 23 YORK PLACE W., and dated AUG. 23RD 1900, bears printed Tomkinsons Carpets Ltd. stampDimensions:43.5cm x 56cm; framed 64cm x 77cmNote: Exhibited: The Fine Art Society, Haslam & Whiteway, H. Blairman & Sons, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 20 ('Purple Bird and Vines')Literature: Durant S. The Decorative Designs of C.F.A. Voysey, Lutterworth Press 2017, p. 58 illus.Note: The stylised birds used in this design are found in many of Voysey's works. In an interview with The Studio magazine in 1893, he stated "I do not see why the forms of birds may not be used, provided they are reduced to mere symbols...".
Lot 114
C. F. A. VOYSEY (1857-1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER DESIGN FOR A CARPET, DATED 1901 graphite and watercolour on squared paper, depicting a flowering foliate repeat pattern, signed and dated in pencil verso C. F. A. VOYSEY/ ARCHT./ APRIL 29/ 1901, and inscribed WORKED, bears printed Tomkinsons Carpets Ltd. stampDimensions:51cm x 46cmNote: Exhibited: The Fine Art Society et al, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 21 (‘Daisies and Heartsease’)
Lot 115
C. F. A. VOYSEY (1857-1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER DESIGN FOR A CARPET BORDER, CIRCA 1898 graphite and watercolour on squared paper, depicting acanthus leaves and berries, signed in ink verso C. F. A. VOYSEY/ ARCHITECT/ 6. CARLTON HILL. N.W., bears printed Tomkinsons Carpets Ltd. stampDimensions:35.5cm x 58cmNote: Exhibited: The Fine Art Society et al, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 28 ('Leaves and Berries Design')Literature: Mayers F.J. Carpet Designs and Designing, F. Lewis (Publishers) Ltd 1934, illustrated plate XIII (B)
Lot 116
C. F. A. VOYSEY (1857-1941) FOR TOMKINSON & ADAM LTD., KIDDERMINSTER DESIGN FOR A CARPET, DATED 1900 graphite and watercolour on squared paper, depicting a fruiting vine repeat pattern, signed and dated in ink verso C. F. A. VOYSEY/ ARCHT./ 23 YORK PLACE W./ JANY. 1900/ NO. 9, and inscribed WORKED, bears printed Tomkinsons Carpets Ltd. stampDimensions:50.5cm x 40.5cmNote: Exhibited: The Fine Art Society et al, London C.F.A. Voysey: Designs for Tomkinson & Adam Carpets, 2013, no. 18 (‘Grape Vine’)
Lot 117
C. F. A. VOYSEY (1857-1941) 'REASON AS A BASIS OF ART', PUBLISHED 1906 Elkin Mathews, London, original paper dust cover, inscribed to inside front cover MORTON/ JMB (monogram of James and Beatrice Morton)Provenance:Provenance: Sir James and Lady MortonNote: James Morton (1867-1943) was the son of Alexander Morton (1844-1923), a textile manufacturer, from whom James inherited the family business, Alexander Morton & Co. Morton and his wife Beatrice were disciples of the Arts & Crafts Movement and the ideas of William Morris informed Morton’s approach to dying textiles. The firm commissioned work from many of the leading designers of the day including C.F.A. Voysey.
Lot 164
THE STUDIO, AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART COLLECTION OF YEARBOOKS hard cloth-bound with gilt-tooling , comprising volumes 13 (2); 14; 15; 16; 17; 23; 39; 40; 41; 43; 46; 47; 48; 50; 53; 54; 55; 58; 59; 60; 61; 62; 63; 64; together with THE STUDIO YEARBOOKS, hard and soft cloth and paper-bound, various editions including 1903-04; 1904 (2); 1906; 1909; 1910; 1914 (2); 1916; 1923; a collection of THE STUDIO MAGAZINE, various paper-backs, comprising Oct-Dec 1902; Jan 1903 ; June - Dec 1905; Jan-July and Sept-Dec 1906; Jan-June 1907; Oct-Dec 1908 and Jan-March and August 1909; and MODERN WOODCUTS AND LITHOGRAPHS BY BRITISH ARTISTS: A SPECIAL EDITION OF THE STUDIO 1919, cloth-bound with gilt-tooling
Lot 165
MARY AGNES MASSIE (1883-?) ARTS AND CRAFTS PLAQUE, CIRCA 1910 enamel, framed, with applied leather panel verso faintly inscribed in white paint 1374/ MASSIE. MARY AGNES/ AGE 28/ DESIGNER, 2**/ 104Dimensions:plaque 5cm x 7cm, frame 23.5 x 25cmNote: Literature: Hoban S.The Birmingham Municipal School of Art and Opportunities for Women’s Paid Work in the Arts and Crafts Movement, University of Birmingham thesis, 2013, pp.123-4Note: Born in 1883, Mary Agnes Massie was a designer for the Birmingham jewellers Marples and Beasley.
Lot 248
ANN MACBETH (1875-1948) GLASGOW SCHOOL COLLAR, CIRCA 1900 padded silk ground, with appliqué of silk, embroidered in silk threads in satin stitch and couchingDimensions:54cm wide, 45cm high, approximate depth 19.5cmNote: Exhibited: The Crafts Exhibition, Old Bluecoat School, Liverpool, 1912Literature: The Studio Yearbook, 1908, p. 291, where illustratedNote: An inspiring artist, teacher and women’s rights activist, Ann Macbeth’s embroideries continue to charm and captivate those who set their eyes upon them. Skilfully executed, her work typically features young female figures encased within an array of stylised roundels and openwork banding. However, as a teacher at the School of Art, she continued to uphold Jessie Newbery’s views and encouraged students to explore women’s fashion and artistic dress. This rare surviving example of a collar, very likely worn by her for a portrait taken in 1900, captures the organic essence and vibrancy of the Glasgow style.In an age of rapid change and industrialisation, Glasgow was transforming into a prosperous city; a model of pioneering design and manufacturing, especially within the shipbuilding and textile industries. Whilst the School of Art’s main focus was to foster fresh young designers to strengthen city’s key trades, the director Fra Newbery equally believed in the importance of nurturing individuality amongst his students. A hub of exciting creative experimentation, Ann Macbeth enrolled at the School in 1897 and immersed herself in this stimulating and progressive environment; a space in which women could actively pursue an artistic career and financial independence.By the late nineteenth century, embroidery was enjoying somewhat of a revival, however, the country’s contribution to the medium was largely machine-made. Handcrafted embroideries were limited to Berlin wool work: sold as ready-made printed designs for the consumer to stitch onto with coloured wools. Unimaginative, laborious and completely lacking in originality, embroidery was reduced to a stereotypical domestic craft of no real artistic merit. With Jessie Newbery at the helm of the School’s Embroidery department, she sought to transform such ideas and teach embroidery as a design subject in a variety of forms, including artistic dress.Arguably Jessie Newbery’s most talented student, Ann Macbeth’s striking embroideries were a regular feature in The Studio and the present lot was no exception. Well-received and much admired, it was illustrated in the Magazine’s 1908 edition on page 291. The design of this collar illustrates both Newbery and Macbeth’s interest in producing non-restrictive womenswear of an artistic aesthetic. Far removed from the tight-corseted dresses which shaped bodies into the desired aesthetic under a male gaze, Macbeth advocated designs for free-flowing garments that gave way to a natural waistline. Belts, collars and cuffs were a particular focus for the pair since they offered women several options to accessorise a variety of outfits; a highly economical approach to emerging fashions of the day.As a teacher, taking inspiration from William Morris’ Arts & Crafts ideals, Macbeth encouraged students to be inspired by nature as a source of ideas, a view which is clearly demonstrated in the design of this collar. Filled with friezes of intertwined leaves, petals and stylised rosebuds, Macbeth looks to traditional stitching methods of the past in a bid to achieve an expressive, yet elegant garment; the design of which is entirely original. Whilst Newbery’s earlier pieces take inspiration from the simple and delicate designs of the Renaissance, Macbeth tended to embellish her pieces with elaborate metal clasps and other decorative fastenings. Richly embroidered in brightly coloured threads, her pieces became popular for their practicality as well as their beautiful designs.In 1908, Macbeth succeeded Newbery as Head of the Needlework and Embroidery Department at the School; she also taught bookbinding and ceramic decoration in the years that followed. Both women designers held strong views that art embroidery should be accessible to all classes and often encouraged the use of cheaper materials in their designs, such as hessian and less expensive silk threads. A champion of honest and original designs, executed with a good level of craftsmanship, her students’ work was both stylistically distinctive and of very high quality.It must be said that whilst this design of this collar may appear simple to the eye it is deceptively so, as it demands a remarkable level of skill and creativity from the embroiderer. The arrangement of abstracted plant forms and expressive linear patterns come together in perfect symmetry and sit in harmony with the pastel-coloured silk threads chosen. The complexity of the stitching techniques employed also speak to the unique skills and knowledge of the embroiderer. Each component in the design has been worked with a great deal of silk threads and yet every rose bud and petal appears entirely uniform: the expressive stitching no doubt helps the design achieve a certain feeling of weight and energy which brings the piece to life. A careful balance of practicality and beautiful decoration, this rare collar showcases the enchanting designs of Ann Macbeth which were a significant contribution in the evolution of the iconic Glasgow style.
Lot 251
CHARLES RENNIE MACKINTOSH (1868-1928) CERTOSA DI PAVIA: A SHEET OF STUDIES OF DETAILS OF AN ENTRANCE GATEWAY pencil, inscribed DETAILS OF ENTRANCE GATEWAY/CERTOSA DI PAVIA with notesDimensions:31cm × 23.5cmProvenance:Provenance: The Dr. Thomas Howarth Collection, Christie's, London 17th February 1994, Lot 59Note: Exhibited: Charles Rennie Mackintosh, 1868-1928: A memorial exhibition sponsored by the Art Gallery of Ontario and arranged by Dr. Thomas Howarth, 18 November-31 December 1978, no. 74
Lot 253
CHARLES RENNIE MACKINTOSH AND MARGARET MACDONALD INTEREST A BOOK OF ELFIN RHYMES BY NORMAN (PSEUD.) with 40 drawings in colour by Carton Moore Park published by Gay and Bird 1900. Inscription in pencil to front endpaper: TO HENRY STEEL DAVIDSON FROM/ MARGARET MACDONALD MACKINTOSH AND/ CHARLES RENNIE MACKINTOSH CHRISTMAS 1900, together with a folded 4-page notepaper headed ‘Windyhill/ Kilmacolm’ containing a handwritten list of “Kitty’s Books” from 1883 to 1928Note: Literature: Davidson, Hamish R. Memories of Charles Rennie Mackintosh, Scottish Art Review, 11, no. 4, 1968, from p. 2.Note: Charles Rennie Mackintosh became acquainted with the Davidson family around 1894/95 and was commissioned in 1900 to design their new home, Windyhill in Kilmacolm. The Davidson’s remained lifelong friends and supporters of Mackintosh and his wife Margaret MacDonald.William and Jean Davidson had three sons, William Cameron (1890–1975); Hamish Reid (1893–1972) and Henry Steel (1896–1915), who was killed in action in France. From 1898 (or earlier) until 1905 (or later) Mackintosh gave Mr and Mrs Davidson and each of their sons, Christmas gifts of books inscribed by Mackintosh until 1899 and, following their marriage, inscribed by Charles and Margaret Mackintosh from 1900.In 1968, looking back more than 60 years, Hamish Reid Davidson refers to some of these books in his Memories of Charles Rennie Mackintosh. Up to 1899, gifts to the boys were from “Uncle Tosh” and from 1900 were inscribed by Charles and Margaret in the form as can be seen in ‘A Book of Elfin Rhymes’. He also says that the joint inscription from 1900 was probably by Margaret rather than Charles as it was less flamboyant than the earlier Uncle Tosh inscriptions.In 1967, Hamish Davidson compiled a list of seven Mackintosh inscribed books then in his possession (but since dispersed), a copy of which is in the Glasgow School of Art collections. This is very incomplete as the books given over the years by the Mackintoshs to the Davidson family must have numbered more than thirty. The list of seven includes only one for 1900 (to Hamish); A Child’s London by Hamish Hendry, published in 1900, with the same illustrator as A Book of Elfin Rhymes, Carton Moore Park; and only one gift to his youngest brother, Henry Steel Davidson for 1902. A Book of Elfin Rhymes is not among the seven on the list, nor are the gifts for 1900 to Mr and Mrs Davidson or William Cameron.Other than the book in this lot, only one other Christmas gift to any member of the Davidson family appears to have survived which has a pasted-in inscription for Christmas 1899 from Mackintosh to Mr and Mrs Davidson. It was donated to the Glasgow School of Art in 2014. With the book in this lot is a folded 4-page notepaper on Windyhill, Kilmacolm letterhead, headed “Kitty’s Books” and with a handwritten list of one book title each year from 1883 to 1928 and concluding with the words “The forty-fifth milestone of our friendship. The End”. How the notepaper and the book are connected is unclear. One possible, but unproven, explanation is that Mrs Davidson kept the Mackintosh-inscribed book after the death in 1915 of her youngest son Henry, and that like the Mackintosh exchange of books, the Davidsons were also in the habit of giving books to friends and the notepaper records one such series of annual gifts.Frederick William Carton Moore Park (1876-1956) was born in Stewarton, Ayrshire. He was a student at the Glasgow School of Art from 1893-97. He exhibited a painting in Vienna at the 1900 Secession Exhibition which also provided Charles and Margaret Mackintosh with their first major European exposure. His early career focused on the illustration of children’s books. In a letter of 24th December 1898 from Mackintosh to the 8 years old Cameron Davidson, he says….”I am sending you this little book of animals which has been illustrated by a young friend of mine in Glasgow…..”. Perhaps this anonymous illustrator is Carton Moore Park and the book An Alphabet of Animals, newly published by Blackie.
Lot 255
MARGARET MACDONALD, FRANCES MACDONALD, J. HERBERT MCNAIR GLASGOW INSTITUTE OF THE FINE ARTS, 1897 stone lithograph, printed by Imprimerie Chaix and published by G. Boudet for the French periodical Les Affiches Étrangères, France 1897Dimensions:29cm x 12cmNote: Note: Examples of the original poster of circa 1895-1896 printed by Carter and Pratt, Glasgow can be seen at the Hunterian Art Gallery, Glasgow and the Kelvingrove Art Gallery & Museum, Glasgow
Lot 257
TALWIN MORRIS (1865-1911) GLASGOW SCHOOL DOORPLATE, CIRCA 1895 brass with repoussé decorationDimensions:72.3cm x 8cmNote: Provenance: Walter W. Blackie, GlasgowChristie's, GlasgowPrivate CollectionNote: After spending part of his early career working as an art editor in London, Talwin Morris took up a post as Arts Manager for Glasgow publisher Blackie & Son in 1898, a position he held until his death in 1911. He quickly became acquainted with Charles Rennie Mackintosh and the circle of artists associated with Blackie and the Glasgow School of Art, which had a significant influence on his work. Perhaps best known for his book designs, Morris also produced pieces of furniture, textiles and metalwork, which were incorporated into many of his decorative schemes, including his own home at Dunglass Castle and the refurbishment of W.W. Blackie's Printing Works where this panel formed part of the decorative scheme. The panel demonstrates the key characteristics of the 'Glasgow Style', with its stylised and linear plant forms and Glasgow roses.
Lot 275
JESSIE MARION KING (1875-1949) (ILLUSTRATOR) GROUP OF ILLUSTRATED BOOKS to include EIGHT SOFT-BACKED BOOKS, CIRCA 1909, pub. T.N. Foulis THE GREY CITY; THE CITY OF THE WEST; THE GREY CITY; DWELLINGS OF AN OLD WORLD TOWN; and pub. Gowans and Gray, EVERYMAN; KIRKCUDBRIGHT A ROYAL BURGH (2 copies); THE DEFENCE OF GUENEVERE & OTHER POEMS BY WILLIAM MORRIS, orig. dec. red cloth gilt. 1904; RUBAIYAT OF OMAR KHAYYAM, tooled suede binding, Routledge, 1903; ISABELLA OR THE POT OF BASIL, pub. T.N. Foulis, c. 1910; POEMS OF SPENSER, Caxton Publishing Co., c. 1907; DRAWINGS OF PARIS BY JESSIE M. KING, pub. The Fine Art Society, 1977; THE ENCHANTED WORLDS OF JESSIE M. KING BY COLIN WHITE, pub. Canongate 1989; and A GUIDE TO THE PRINTED WORK OF JESSIE M. KING BY COLIN WHITE, pub. The British Library 2007
Lot 293
ALEXANDER RITCHIE (1856-1941), IONA (ATTRIBUTED MAKER) CELTIC REVIVAL CHEST, CIRCA 1900 oak, with original key and hand-beaten copper lock cover Dimensions:124cm wide, 77cm high, 55cm deepNote: Literature: MacArthur, Mairi E. Iona Celtic Art, Iona 2003, p. 53, Fig. No.16c where the quatrefoil leaf design with central rosette motif found carved on this piece is illustrated on a copper salver.
Lot 30
CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY SAKE BOTTLE, CIRCA 1880 glazed earthenware, impressed LINTHORPE/ 174 with facsimile signature Dimensions:13.5cm (5 1/4in) highProvenance:Provenance: The Peter Rose and Albert Gallichan CollectionNote: Literature: Whiteway, M. (ed), Christopher Dresser, A Design Revolution, London, 2004, p.172 pl. 232 (similar example illustrated).
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