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Lot 2410
Mahogany clock by J R Arnold Charles Frodsham, 19th Century, with a plain domed case, on plinth base, with a brass and glass circular door, the white painted dial with Roman numeral chapter ring, the brass movement with twin fusee train and bell strike, signed J.R. Arnold Chas. Frodsham, 84 Strand 606, with a pendulum, 38cm high
Lot 2415
A Late 19th century mahogany and line inlaid mantel clock of balloon shape. The white enamelled dial detailed LINKINSON DONCASTER, enclosing a brass two train movement with hammer chiming on a single bell. Raised on a plinth base and four shaped brass feet. Height 45cm (winding key and pendulum)
Lot 2416
A Late 19th century mahogany cased bracket clock. The white enamelled dial detailed ROBERT BRYSON EDINBURGH, enclosing a two train movement with hammer striking a single bell. The case flanked by twin ring handles over a plinth base and four spherical brass feet. Height 47cm. (winding key and pendulum)Condition Report: The door to the clock is locked, no keys are apparent, so it is not possible to confirm the quality of the spring/movement
Lot 2419
An early 19th mahogany longcase clock by JONATHAN STORE YORK. The archtop case enclosing a two train movement with hammer striking a bell. The dial with strike/silent over a subsidiary seconds dial and date aperture. The waisted case over a plinth base. Height 226cm (winding key, pendulum, two cast iron weights) Condition Report: Height to top of backboard is 208cm. Crack through glazed door near hinge and general overall wear. Not sure if in working order so would suggest that it may need professional attention.
Lot 2394
A Victorian style brass mantel clock, the 4 inch white enamel dial with Roman numerals, the glazed sides with Corinthian column corners and a front and rear door, on a stepped base, the 8 day movement striking on a bell, with a mercurial pendulum, H33cm W19 D16cmsCondition Report: Ticks when wound with a key. We do not have the original key however. In good condition overall, though the case would benefit from a clean if you want to shine it up.
Lot 1242
An Oak Eight Day Longcase Clock, 18th century and later, 12" square brass dial with chapter ring signed Ls Thomas, Chester, four pillar movement with rack striking on a bell, (later case), 220cm highPlus pendulum and two weightsCase slightly faded in parts, dial is clean, small wooden blocks below the seat board to the left hand side, movement is clean, later case.
Lot 43
LARRY BELL (B. 1939)MSMS 104 (Medium Size Mirage Study) 1993 signed, partially titled and dated twice 11/19/93 and '93 on the reversealuminium and silicon monoxide on denim 107 by 107.5 cm.42 1/8 by 42 5/16 in.Footnotes:ProvenanceAcquired directly from the artist by the present ownerFor further information on this lot please visit Bonhams.com
Lot 194
dating: 1925 provenance: London, 'A Record of Armour Sales 1881 - 1924'; London G. Bell And Sons, Ltd. MCMXXV. 68 pages of introduction plus 328 pages, all with English text. Registers of sales (including Spitzer) complete with sales prices. 202 b/w illustrations and photographs. Sand coloured cloth hard cover and with original dust jacket. height 32 cm.
Lot 364
dating: Second quarter of the 19th Century provenance: Piedmont, Smoothbore, two-stage, 27 mm cal. barrel, octagonal and round, with acanthus leaf frames and rings at the girdle. Breech block with gold-inlaid Savoy marks. Tang with broad sight. Slightly bell-mouthed nozzle, with crescent engraving surrounded by rays on the back. Percussion lock (crack in the centre of the lock plate), with working mechanism. Wooden, three-quarter stock. Brass mounts partially engraved. Butt stock with iron patchbox on the right side. Restorations. Brass-tipped wooden ramrod. length 92 cm.
Lot 357
dating: First half of the 18th Century provenance: Tuscany, Very long, smoothbore, two-stage, 17,7 mm cal. barrel, octagonal and facetted, provided with a crowned mark on the back followed by the letters 'C L P', bearing rings at the girdle. Brass foresight, slightly bell-mouthed nozzle. Flintlock with oblique-edged lock plate, lowered tang adorned with an engraved mask, hammer throw, jaws, springs and pan also engraved. The head of the top jaw screw shaped as a flower. The back of the plate with the signature 'Vittorio Sagnotti' and outlines. Wooden half stock with butt stock with fuller, a couple of restored blocks. Brass mounts. Back shield, ramrod pipes and counterplate worked in fretwork with leaves. Cow-horn-tipped wooden ramrod. For Vittorio Sagnotti, lock maker in Rome and Florence between the late 17th Century and the first half of the 18th Century see Barbiroli 'Repertorio Storico degli Archibugiari Italiani', pag. 476. length 194,7 cm.
Lot 358
dating: 1798 provenance: North Italy, Short, smoothbore barrel, framed and engraved at the base with a bust of an old-fashioned warrior, the rib decreasing towards the bell-mouthed nozzle, which is provided with rings, engraved tang; snaphaunce flintlock with flat lock plate engraved with snakes, cock and batterie decorated with floral carvings and engravings, the back of the cock with a face, screws covered with medallions decorated with carved faces, sliding pan cover, with monogram 'C. Z.' inside. Wooden full stock partially sculpted with floral motifs, beautiful iron mounts richly carved, engraved and partially pierced with busts and floral motifs. Butt-plate dated '1798'; one screw and the second loop are missing. Replaced wooden ramrod. Interesting rifle for hunting in the undergrowth made by a member of the famous Zanotti dynasty. length 98.5 cm.
Lot 321
dating: Mid 19th Century provenance: Naples, Smoothbore, two-stage, browned, damask, 18 mm cal. barrel, octagonal at the first part with mark at the base and remains of gilding, then round after a ring with acanthus leaves and copper foresight, slightly bell-mouthed; long tang engraved and browned with sight. Elegant backward spring lock with deep mark 'MAZZA A NAPOLI'. Half stock in briarwood (slightly damaged and with small restoration) with oblique checkered palm rest and grip. Iron mounts decorated en suite. Brass-tipped wooden ramrod with brass and iron cartridge extractors. See this item described and illustrated in 'Le armi al tempo dei Borbone' by Salvatore Abita, Edizione Scientifiche Italiane, Naples, 1998; with text on page 158 and illustration no. 63 on page 176. length 128 cm.
Lot 397
dating: Early 19th Century provenance: England, Round barrels with three stages divided by rings, strongly bell-mouthed and elliptical nozzles. Boxlock-type frames engraved with trophies and signed 'H. NOCK' and 'LONDON'. Iron trigger guards, hammers, batteries, triggers and secure-locks. Wooden butts. length 20 cm.
Lot 338
dating: 1806 provenance: British India, Smoothbore, two-stage barrel, octagonal at the first part with a frame at the base, then round after another frame with a strongly bell-mouthed nozzle. Tang with sight. Large flintlock signed 'BOND', marked '4' above heart with monogram 'VEIC', marked '2' below crown and dated '1806'. Border with double lines. Wooden full stock with remains of stamps. Iron mounts and ramrod. length 82.5 cm.
Lot 317
dating: last quarter of the 18th Century provenance: Naples, Smoothbore, two-stage, 16 mm cal. barrel, the first part octagonal decorated with three fleurs-de-lis with remains of gilding, after a round ring and with a slightly bell-mouthed nozzle. Tang engraved with floral and geometric motifs. Miquelet lock engraved with floral motifs. Wooden, full stock (small defects and missing parts) with bronze mounts engraved with floral motifs, the counterplate pierced, back with shield engraved with a warrior's head. Horn-tipped wooden ramrod. See this example described and illustrated in 'Le armi al tempo dei Borbone' by Salvatore Abita, Edizione Scientifiche Italiane, Naples, 1998; with text on page 184 and illustration no. 83 on page 190. length 26 cm.
Lot 198
dating: 1920-1922 provenance: London, 'A Record of European Armour and Arms through seven Centuries'; G. Bell and Sons, Ltd, MCMXX-MCMXXII, approx. 1700 pages divided in five volumes with lots of b/w illustrations. Canvas hard covers with gold titles and with original dust jacket. Rare. height 32 cm.
Lot 467
A group of Chinese items, comprising an 18th century Chinese enamel dish painted with a monkey, deer and birds, raised on three small feet, pink underside, 17.5 by 2cm high, a small modern famille jaune enamel dish, painted with a woman, 9.5cm, a cloisonne enamel dish decorated with butterflies, 18cm, cloisonne enamel circular box and cover decorated with flowers, 9.5 by 6cm high, a small cloisonne enamel bell, 5cm high, a Chinese carved jade dog, 11.7cm long, a carved hardstone seal, with lion dog to top, 6.2cm, and a papier mache stem cup, decorated with gilt figures against a black ground, 5 by 8cm high. (8)
![[Brontë (Charlotte)], "Currer Bell". The Professor, 2 vol., first edition, half-titles, vol. 1 with 2pp. advertisem](https://cdn.globalauctionplatform.com/7328f746-df8c-48ad-882f-b13300a611af/ff17acb6-fffd-4e57-bba5-b13300b47575/468x382.jpg)
Lot 219
[Brontë (Charlotte)], "Currer Bell". The Professor, 2 vol., first edition, half-titles, vol. 1 with 2pp. advertisement at end, vol. 2 with 8pp. advertisements at end, scattered spotting, bookplate, later half-morocco, a little rubbed, slight bumping to corners and extremities, [Smith pp.162-66], 8vo, 1857.
Lot 333
Two Early 20th Century Steiff pull along teddy bears on wheels to include Bear on Wheels, with jointed head, boot button eyes, stitched nose, brown leather studded collar and chain on four cast metal spoked wheels, 30cm x 24cm x 13cm and Scotty Dog on wheels with red collar and bell on four wooden red wheels and remainder of Steiff tag, both showing signs of wear, the bear showing heavy signs of play wear with fur to bottom half and legs, dog showing light hair loss, but nothing major
Lot 158
W. H. Brett. The Indian Tribes of Guiana; their Condition and Habits, first edition, half-title, 20 lithographed plates, 8 hand-coloured, folding engraved map at end, original publisher's cloth, 8vo, London: Bell and Daldy, 1868; Indian Missions in Guiana, 12 engraved plates, including map and additional title, original publisher's cloth, 8vo, London: George Bell, 1851 (2).(i) spotting, especially to folding map, cloth with extremities worn, some repaired, joints cracked (ii) spotting and light soiling to some leaves, joints cracked.
Lot 225
Thomas Bell. A Short Essay on Military First Principles, first edition, contemporary half calf, bookplate of Hugh Owen, 8vo, London: T. Becket and P.A. De Hondt, 1770.Leaves A4-5 working loose, title slightly soiled, some discoloration and soiling to later leaves, calf with extremities worn, joints cracked.
Lot 568
Matchbox Super Kings K-15 Daimler Fleetline Londoner Bus - red body with "Swinging London - Carnaby Street" labels, "London Transport" Bullseye labels, later issue model without working bell, brass opening centre doors with white operating lever, RARE WHITE INTERIOR, 4-spoke wheels - Excellent Plus with usual rub marks to roof, in Good Plus to Excellent 1973 Copyright Type I Box with some creasing to header card, complete with inner card packing tray.
Lot 152
A 18th Century Chelsea porcelain bell shaped mug, hand decorated with two colourful Parrots sat on branches and leaves with other floral bouquets probably copied from one of George EdwardsBooks of birds, circa 1754-56, marked to the underside of the base with a small red anchor mark, approx 12cm high Further details: Professional restoration to cracks in the body of the mug.
Lot 10
A George III silver coffee pot, baluster shaped engraved with scrolling foliage, the spout with rocaille terminals, S-scroll fruitwood handle, domed cover with bell shaped finial, hallmarked by London, 1761, maker's mark ? W within concentric circles, gross weight 22.54 ozt (701.2 grams), approx 25cm high overall Note: Maker's mark either CW, IW or TW all recorded by Grimwade as an Unregistered Mark, TW identified as "?Thos. Wallis" which was probably recorded in the lost 1758-1773 in the Largeworkers' Register. Further details: marks clear except maker's mark
Lot 12
Claude Galle, 1759 – 1815, zug.FRANZÖSISCHE KAMINUHR IN FEUERVERGOLDETER BRONZEHöhe: 45 cm. Breite: 45 cm. Tiefe: 20 cm.Werk: 14-Tage-Gehwerk, Pendel an Fadenaufhängung, Regulierung oberhalb der XII. Schlossscheiben-Schlagwerk für Halb- und Stundenschlag auf Glocke. Gehäuse: Imposanter, großformatiger Gehäuseaufbau in Form einer mit einem Laken überhangenen Kline, darauf eine jugendliche Frauenfigur, Allegorie der Venus, umgeben von vier Amoretten, die zur Tätigkeit der Liebesgöttin aufrufen. Die Kline prächtig gestaltet mit Löwentatzenfüßen, Draperien und Quasten, auf einem gerade ziehenden Sockel auf Spindelfüßen. Die plastische Gestaltung von hoher Qualität, nicht ohne Witz und Charme – wenn etwa einer der Amoretten sich hinter dem Laken verbirgt. Wie bei den meisten dieser französischen Pendulen ist der Entwerfer und Sculpteur nicht ermittelt worden. Zifferblatt: Das weiße Emailziffernblatt in die Draperie eingefügt, mit Bezeichnung „a Paris“, mit römischen Stunden, arabischen Viertelstunden und vergoldeten, durchbrochen gearbeiteten Zeigern. A.R.Literatur: Vgl. Pierre Kjellberg, Encyclopédie de la pendulum francaise du Moyen-Age au XXe siècle, S. 390. (1390992) (11)Claude Galle,1759 – 1815, attributedFRENCH MANTELPIECE CLOCK IN FIRE-GILT BRONZEHeight: 45 cm.Width: 45 cm.Depth: 20 cm.14-day movement, pendulum on silk suspension, regulation above the XII. Locking disk striking mechanism for half and hour strike on bell.
Lot 9
Louis XVI-Bronzependule mit Löwenfigur59 x 39 x 23 cm.Bezeichnet: Causard à Paris, für Georges Causard (1738 Audeloncourt – 1780 Paris, Meister ab 1770).Paris, um 1770 – 1780.Funktionen: Viertelstundenschlag auf Glocke zur Viertel-, halben und vollen Stunde.Gehäuse: Auf ziselierten Ormolufüßen ein rechteckiger gestufter Sockel in Ebenholz mit mächtigen applizierten fein ziselierten und feuervergoldeten Beschlägen. Diese mit an den Ecken je einem Blattwerktondo, zentral ein durch Louis XVI-Schleifen gehaltener Eichenlaubbund. Die Oberfläche des Sockels mit graviertem vergoldeten Rautengrund. Darauf die vollplastisch aufgefasste Figur eines zurückblickend stehenden männlichen Löwen mit geschultertem Uhrengehäuse in Vasenform mit Lorbeerblattfestons.Zifferblatt: Weiß emailliert mit arabischen Stunden und Minuten sowie Stabindizes, Aufzugslöchlein über der 4 und der 8, sowie vergoldete à jour gearbeitete Zeiger für Stunden und Minuten.Literatur:Vgl. G. H. Baillie, Watchmakers & Clockmakers of the World, London 1947, S. 54. (1390085) (13)Louis XVI bronze pendulum clock with lion figurine 59 x 39 x 23 cm.Inscribed: Causard à Paris, for Georges Causard (1738 Audeloncourt – 1780. Paris, master since 1770).Paris, ca. 1770 – 1780.Functions: Quarter, half and full hour strike on bell.
Lot 32
Vasenpendule66 x 34 x 25,5 cm.Gestempelt „Osmond“ für Robert Osmond (Canisy 1711-1789 Paris, Meister ab 1746).Paris, um 1760-1765.Funktionen: À jour gearbeitete vergoldete Zeiger für Stunden und Minuten, Schlag auf Glocke zur vollen und zur halben Stunde. Ein Pendel und ein Schlüssel vorhanden.Gehäuse: Bronze, gegossen, ziseliert und feuervergoldet. Der mehrstufige Sockel erhebt sich auf annähernd quadratischem Grundriss. An der Unterseite bildet er vier im Grundriss L-förmige Füße mit angedeutetem Mäandermotiv aus. Die darauf folgende hohlkelig eingezogene Zone weist allseitig eine oben halbkreisförmig eingeschnittene Rahmung mit fein punzierter Vierblatt-Füllung auf. An den drei Schauseiten sind üppige, plastisch ausgearbeitete Eichenlaubgirlanden mit Blättern und Früchten aufgehängt, welche in ihrem Ansatz Rosetten entspringen und U-förmig nach unten ausschwingen. Darüber erhebt sich eine glatte, zwei-stufige Sockelplatte, auf der die urnenförmige Vase steht. Deren unten von einem Lorbeertorus umsäumter Fuß ist stark eingezogen mit schräger Kannelierung und mündet in einem Schaftring. Robert Osmond (1711-1789) war ab 1735 als cieseleur-bronzier Lehrling in der Werkstatt von Louis Regnard. 1746 erhielt er seinen Meisterbrief und führte eine Werkstätte in der Rue des Canettes bei Saint Sulpice, bis er 1761 in die vornehmere Rue Macon umziehen konnte. Im Jahre 1766 unterzeichnete er die wichtige Erklärung der Pariser Maitres fondeurs über den Urheberschutz ihrer Modelle. Das Ende seiner beruflichen Tätigkeit ist wohl im Zeitraum zwischen 1770 und 1775 festzusetzen. Sein Inventar wurde 1789 nach seinem Tod erstellt. Ein dem hier angebotenen Exemplar nahestehendes Objekt wird im Musée Condé in Schloss Chantilly in der Nähe von Paris verwahrt. Zifferblatt: Weiß emailliert mit römischen Stunden, arabischen Minuten, Aufzugslöchlein neben der III und der IX, schwarze Signatur „Ferdinand Berthoud“.Literatur:Vgl. Roland de L´Espée. Die Osmond, ein Familienbetrieb und seine Produktion, in: Hans Ottomeyer und Peter Pröschel, Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus, München 1986, Bd. 2, S. 539-547.Jean-Dominique Augarde, Les ouvriers du temps, Genf 1996, S. 255.Vgl. Svend Eriksen, Early Neo-Classicism in France, London 1874, Abb. 187.Pierre Kjellberg, Encyclopédie de la Pendule francaise du Moyen Age au XX Siècle, Paris 1997, S. 212f.Anmerkung: Vergleichbare Uhren befinden sich in: Cleveland, Museum of Art, Inv.Nr. 1985.11 (publiziert in: Jean-Dominique Augarde, Les ouvriers du temps, Genf 1996, S. 254f.Chantilly, Musée Condé (publiziert in: Hans Ottomeyer und Peter Pröschel, Vergoldete Bronzen. Die Bronzearbeiten des Spätbarock und Klassizismus, München 1986, S. 155, Abb. 3.1.2.). (1390083) (13)Vase pendule66 x 34 x 25.5 cm.Stamped (Osmond), for Robert Osmond (Canisy 1711-1789 Paris, master since 1746).Paris, ca. 1760 – 1765.Case: Bronze; cast, chased and fire-gilt. The multi-tiered base rises from an approximately square layout. It is supported by four L-shaped feet with a hint of a meander motif on its underside. The subsequent hollow-shaped zone features a frame on all sides with semi-circular incisions on the top set with finely punched four-leaved filling. On the three display sides, opulent, three-dimensional oak leaf garlands with leaves and fruit are hung rising at their base from rosettes and swinging downwards in a U-shape. Above this is a smooth, two-tiered base plate which supports the urn-shaped vase. Its base, surrounded by a laurel torus at its foot, is strongly recessed with slanted fluting ending in a shaft ring. Robert Osmond (1711-1789) was an apprentice bronze-caster in the workshop of Louis Regnard from 1735. He became a master in 1746 and ran a workshop in the Rue des Canettes near Saint Sulpice until he was able to move to the more elegant Rue de Mâcon in 1761. In 1766 he signed the important declaration of the Parisian maîtres fondeurs regarding the copyright protection of their models. His professional career probably came to an end between 1770 and 1775. His inventory was made in 1789 after his death. An object close to the example on offer for sale here is held at the Musée Condé in The Château de Chantilly near Paris.Dial: White enamel with Roman hours, Arabic minutes, winding holes next to the III and IX, black signature “Ferdinand Berthoud”.Functions: Openwork gilt hands for hours and minutes, strike on bell on the full and half hour. With pendulum and a key.
Lot 96
Introducing a delightful novelty vase designed by Betty Silvester, inspired by the beloved song Daisy Belle. The vase portrays Daisy and her partner riding a bicycle made for two, beautifully hand painted. It measures 9.5"L x 5.5"W x 10.25"H. Additionally, a smaller version, impressed with Daisy Bell, from Shorter England and stamped Genuine Staffordshire, Hand-painted, Shorter & Son Ltd. This charming piece measures 6"L x 3"W x 5.75"H. Issued: 20th centuryCondition: Age related wear.
Lot 8
NEW ZEALAND – MAORI LAND TRANSACTION Land transaction signed at foot by fifteen Māori chiefs with their moko, being an agreement between eight named Māori chiefs and George Lyall, Stewart Marjoribanks, George Palmer and Robert Torrens, Trustees of the New Zealand Company, exchanging '...one double barrel gun, eight muskets & one barrel of powder...' for various parcels of land '...denominated the Islands of Pakatu, Taratora, Ponue & Pake situated in the district of Tamaki... bounded the East side by the Eastuary [sic] Named by Captain Cook The Thames & by the Natives Te Cuppa on the West side by the Strait of Pahneniche on the North side by the aforesaid Strait and Eastuary and on the South side by the Sound or Passage called by the Natives Mamidua. Together with all the trees growing on the said four pieces or parcels of Land... belonging together with the Creeks, Bays and Harbours on the said Islands & the sea for 3 Miles distant from their shores...', signed beneath by Thomas Shepherd, Richard Bell, Luther Lechmere, and signed and subscribed at foot by the interpreter Thomas Kendall ('...I hereby certify that I interpreted the above to the chiefs whose Marks are annex'd, and that they fully understand the... meaning of the contents...'); engraved with manuscript insertions, simple line map in ink of Wyheckee on reverse, showing the islands of Pake and Po-nue, with compass rose and scale, one sheet of vellum, recto and verso, dust-staining, water-staining, discolouration, worn and rubbed with some losses, folio (600 x 415mm.), '...on board the Rosanna, at Anchor off the Island of Wyheckee...', 23 September 1826 For further information on this lot please visit Bonhams.com
Lot 119
ROSSETTI (CHRISTINA)The Poetical Works... With Memoir and Notes &c. by William Michael Rossetti, EDITOR'S PRESENTATION COPY, with an autograph note 'Presented to Miss Lisa Wilson 'my Fior-di-lisa' of Christina's little poem with affectionate regard by W.M. Rossetti Jan. 1904' on paper headed '3 St. Edmund's Terrace...' pasted on front free endpaper, chemise made from embroidered fabric, Macmillan, 1904; For Remembrance. Daily Selections from the Poems of Christina Rossetti. Compiled by Frances Maclean. With a Preface by Lisa Wilson, EDITOR'S PRESENTATION COPY, inscribed to Lisa Wilson (who wrote the preface) 'Lisa from Frances. Dec. 5 1913' above 2-line poetry quotation, annotated by Wilson in margins with the names and dates of friends (i.e. 'Christina 1894' beside the poem for 29 December), Winchester, Warren & Son, and London, Simpkin & Co., [1913]; Sing-Song. A Nursery Rhyme Book... illustrations by Arthur Hughes, inscribed by Lisa Wilson 'Christina Maude Evelyn Corkran with her Godmother's love, Feb 24th 1903', Macmillan, 1893; Speaking Likenesses... with Pictures Thereof by Arthur Hughes, FIRST EDITION, Lisa Wilson's copy inscribed 'Lisa from Jessie, Christmas 1883' on front free endpaper, spine soiled, Macmillan, 1874--ROSSETTI (DANTE GABRIEL) Ballads, PRESENTATION COPY FROM W.M. ROSSETTI, inscribed 'To Miss Lisa Wilson with best regards W.M. Rossetti, Novr. 1899', Ellis & Elvey, 1899--Of the Imitation of Christ... New Edition, PRESENTATION COPY FROM CHRISTINA TO WILLIAM MICHAEL ROSSETTI, inscribed in William's hand 'W.M. Rossetti from Christina 1890' inside upper cover, 3 CUT SIGNATURES OF CHRISTINA ROSSETTI, a 2-page note probably by Maria Rossetti and photograph of her loosely inserted, lacks front free endpaper, contemporary half calf, rubbed, Oxford, J.H. Parker, 1845--WILSON (LISA) Verses, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Maude Corkran from Lisa Wilson with her love, Oct. 12. 1900', sprig of leaves loosely inserted (resulting in light off-setting to 2 pages), Bliss, Sands & Co., 1896--BELL (MACKENZIE) Christina Rossetti. A Biographical and Critical Study, FIRST EDITION, presentation copy with note 'To Miss Lisa Wilson with the good wishes of her friend Mackenzie Bell, Jan 1898' pasted onto the half-title, FLOWERS FROM THE WREATH PLACED ON CHRISTINA'S COFFIN loosely inserted within paper wallet folder inscribed by Lisa Wilson 'Flowers & leaves from the wreath which was laid on my beloved Christina's coffin, and buried with her - Jan 2 1892 - Highgate', a postcard from Mary Rossetti to Lisa Wilson (29 December 1930), a 4-page programme for a dedication service for the Memorial of Christina Rossetti held at Christ Church, Woburn Square on 1 November 1898, and a couple of other items loosely inserted, 2 small pencil annotations by Wilson, Hurst and Blackett, 1898--SANDARS (MARY F.) The Life of Christina Rossetti, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'To Miss Lisa Wilson with many thanks for her kind help from Mary F. Sanders, Oct. 10 1930' on the half-title, 3 autograph letters signed by the author to Wilson (12 pages, dated between August to September 1930, discussing the book) loosely inserted, APPROXIMATELY 25 PENCIL ANNOTATIONS AND CORRECTIONS BY LISA WILSON in the margins, Hutchinson, 1930, 8vo; and 13 others, biographies and reference works about Christina Rossetti, including the 4-volume Letters, works inscribed by Jan Marsh and Diane D'Amico, and 3 with the ownership inscription of Lisa Wilson (22)Footnotes:'SHE WOULD NOT HEAR OF FATE!': A group of books by, about and associated with Christina Rossetti belonging to Lisa Wilson, her closest friend in later years, and as her brother William Michael Rossetti notes in one of the volumes, 'the Fior-de-Lisa of Christina's little poem'. Two books are inscribed by William Michael, another has 3 cut signatures by Christina loosely inserted, whilst a third has dried flowers taken from the wreath laid upon her coffin. Christina Rossetti died on 29 December 1894 and Lisa was one of only a handful of guests accompanying the burial party on a snowy day at Highgate Cemetery on 2 January 1895, following a ceremony during which two hymns by Christina were sung. Also between the pages of this book can be found an order of service for Rossetti's memorial service on 1 November 1898. The editor of Rossetti's letters notes that in the last years of her life she was more aware of her growing fame and even joked to her brother William Michael that an annotated copy of Sing-Song would one day be 'priceless', warning him not to disperse her library without looking carefully for inscriptions (Antony H. Harrison, ed., The Letters of Christina Rossetti, Vol. 4: 1887-1894, 2004, xii). Lisa Wilson was consulted by Christina's early biographers, including Mackenzie Bell and Mary F. Sanders, in whose book Lisa has made some 25 revealing comments, such as 'Horrid', 'But she believe in the infinite mercy of God', 'I am sure she never thought this', and 'She would not hear of Fate!'. To Sanders' statement that Lisa was her 'most intimate friend to whom she poured out all her thoughts', Lisa responds tartly 'her thoughts were only poured out to her God'. As Lisa and Christina's correspondence was destroyed, these notes form a rare insight into their relationship. Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.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
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123939 item(s)/page