RUSKIN (JOHN)Praeterita: Outlines of Scenes and Thoughts Perhaps Worthy of Memory in My Past Life [-Dilecta_ Correspondence, Diary Notes, and Extracts from Books, illustrating Praeterita], 31 original parts in 6 vol., FIRST EDITION, EXTENSIVELY EXTRA-ILLUSTRATED FOR CHARLES E. GOODSPEED WITH THE INSERTION OF 25 AUTOGRAPH LETTERS SIGNED BY RUSKIN, 23 autograph letters and notes by contemporaries (including Turner), numerous sketches, photographs, cut signatures, annotated proof sheets, and upwards of 280 additional engravings and plates (some coloured), the collection comprising: i) Group of 25 autograph letters signed ('J. Ruskin', 'John Ruskin', 'J.R.') to various correspondents, including:'Darling Reille', an unknown child ('...although May is irresistible, And Alice is so bewitching – yet you were my first Love... ps Don't frizz the hair quite so high this time...'); Miss Rudkin, organising a spring dress for Arthur Severn's daughter whom he finds '...already tall enough – to become – a pretty costume, and refresh and refine my savage mind...'; an unknown recipient recalling an encounter with Charles Darwin ('...A couple of years ago, a man, Darwin was walking with me on my garden terrace and stopped to look at a strange form of (I forget what) flower. – 'Now – why is that shaped so' – he said. Why should you want to know? I answered – Oh – he said, laughing – but with the perfectly frank expression of a man partly ashamed of a weakness – 'I always want to know' – 'And I never do.' – ended this 'discussion' in that direction – and we went into lunch...'); Charles Newton on his engagement to Effie Gray ('...I believe indeed that it is every way better for me that I should marry... Miss Gray is a good girl... will be a very noble creature – and far above my deservings...'); another to Newton (speaking of his recent trip to Europe ('...that vast blunder St Peters...'), the effect of political feeling on architecture, hoping to 'get out of Jephson's clutches' soon to show him some architectural drawings completed in Italy); the Revd A. Tighe Gregory (mentioning his nervous condition '...the most trivial matter will sometime sicken and sting me...', his debt to Turner for art and Carlyle for literature and marvelling how they, like him 'should be irreligious' but that he is open to 'all influences'); Lady Naesmyth (sending copies of verses by Rose La Touche, despairing she has gone to Ireland and may not love him when she returns); four to his friend and neighbour at Brantwood, Susan Beever, including a highly personal undated letter regarding '...that wretched child...' [Rose La Touche], complaining of her evangelism and his frustration ('...a husband can always say a little word for himself – whereas a poor, servile – wretch of an old lover... she I verily believe is like to be in mortal illness as not – and vowing I shan't come near her unless I swear first that I don't care to! – and only love God. And of course I can't & won't do anything of the sort – I don't love anything but her in the whole universe – and she leads me the life to Tantalus & Prometheus Vinctus in one...'); another illustrated with a sprig of blossom written three days after her death ('...I've just heard that my poor little Rose is gone when the hawthorn blossoms go... just left the second number of Proserpine to be printed – there are many little things going to be said in it, which nobody but she would have understood... I have been long prepared so you need not be anxious about me...'); and another including a delicate drawing of moss ('...all in stars as close as that – it takes such a dreadful time to paint...'); and Thomas Carlyle discussing the use of colour in Greek sculpture ('...if colour will make Greek endurable – it will make Gothic glorious...'); others include a note to Dante Gabriel Rossetti arranging a meeting, another refusing an invitation to dine at Mr D'Israeli's, to his physician Henry Jephson, to Hale White regarding his paper on Byron and to Henry Jowett regarding the publication of Praeterita, c.52pp in all, 8vo, Denmark Hill, Brantwood, Leamington Spa, Perth etc., c.1841-1889 where dated. ii) Illustrations, including a copy of John Ruskin's self portrait of c.1861, head and shoulders, wearing a black neckerchief, pencil and watercolour, in an unknown hand, image 155 x 125mm.; a sketch map of Oxford depicting the town and colleges, in ink, with monogram ('JR') on reverse of a printed prospectus for Robert Taylor Pritchett's Brush-Notes in Holland, 183 x 240mm.; two fine pen and ink vignettes of hawthorn blossom and moss; and sketch of a dog by John Brown entitled 'orat plorat et adorat', 85 x 65mm.; together with numerous printed plates and engravings including landscapes, architecture and portraits.iii) Some 23 autograph letters by others including J.M.W. Turner (arranging for James Lennox of New York '...to view the work of art at Denmark Hill Slave Ship...'), Ruskin's father John James Ruskin, George Cruikshank, Giulia Grisi (signed musical quotation from Verdi's Il Trovatore), his physician Dr Henry Jephson, John Brown (3), George Allen, Charles Eliot Norton (from whom Goodspeed received Ruskin's autograph), J. A. Froude, Joan Ruskin Severn, Thomas Carlyle, Robert Harry Inglis, Sir Walter Scott, Mary Carlyle (to Robert Browning regarding her uncle's funeral), and Lord Egremont; with others regarding the publication of Praeterita, additional photographs and cut signatures.iv) Printer's proof sheets of Chapter XI Volume 2 with corrections and annotations by Ruskin in black ink., bound at the end of volume 2.Footnotes:AN IMPORTANT EXTRA-ILLUSTRATED SET WITH 25 AUTOGRAPH LETTERS BY RUSKIN, ASSEMBLED BY AND BOUND FOR THE EMINENT RUSKIN COLLECTOR CHARLES E. GOODSPEED OF BOSTON.Praeterita, the story of Ruskin's early life, was published in 28 parts at intervals from July 1885 to July 1889 when ill-health took its toll on the author and the series remained unfinished: '...Praeterita is a delightful work, a rewriting of Ruskin's life that makes it unreliable as a source of biographical fact, yet an accurate portrait of the author's mind...' (Robert Hewison, ODNB). This finely-bound set of Praeteritia is the result of a collaboration in the early years of the twentieth century between Ruskin's friend and literary executor, the American Charles Eliot Norton, who supplied the parts (as evidenced by the ownership inscriptions on the bound-in wrappers), and the eminent Ruskin collector, bibliophile and bookseller Charles E. Goodspeed, who organised the extra material and binding, supplying much of it from his own extensive collection.The extra material Goodspeed carefully chose to include in this edition is not organised in exact chronological order but fitted in where deemed appropriate to fit the text, and includes several important autograph letters by Ruskin amongst the wealth of material. Although some of the letters are marked in pencil presumably for the purposes of publication, most are apparently unpublished, with one particularly revealing letter bearing the pencilled note 'Rosie... perhaps too 'intime' to print?...'. Goodspeed has indeed selected some particularly personal letters for inclusion, several relating to his relationships with young girls, one to Charles Newton for example enthuses about his engagement to Effie Gray ('...far above my deservings...'), and another to his close friend and neighbour at Brantwood, Susan Beever, where, in a highly intimate letter, he complains of '...that wretched child...' (presumably the deeply religious Rose La To... 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
We found 51252 price guide item(s) matching your search
There are 51252 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
51252 item(s)/page
Large Collection of Vintage Avon Aftershave Bottles in various forms, some with boxes, some with aftershave, many unusual and collectible shapes, including: Viking Ship Hud; Roadster Oland; Volkswagen Spicy; two sports cars; Motorbike Endeavour; Jeep Rugger; Carriage Torero; Cannon Siege; Pistol; Alsation Dog; Bassett Hound; Rhino; four Smart Move chess pieces; Tai Winds ceramic decorated pipe; ceramic bulldog pipe; Island Lime pipe; Horses Head Island Lime; Roman Head Blue Blazer; Shaving Brush; Calendar; Boxed: Golf Ball; Speedboat; Ancient Mariner Compass; Prize Catch Decanter; Racehorse; Decanter; Red Sports car; With Some Contents: Deep Woods; Vintage Car; Bassett Hound; The Avon Open Buggy; Red Rocket; and Sports car decanter. Large and interesting vintage collection.
* Churchill (Winston Spencer). A limited edition toby jug modelled as Churchill by Leonard Jarvis 1947, painted in colours of Ralph Wood style, numbered 87 and incised with the artist and the base incised 'The Rt. Hon. Winston S. Churchill O.M., C.H., F.R.S., M.P.', slight damage to one paint brush, 18.5cm highQty: (1)NOTESLord Mackintosh of Halifax an ardent collector of early toby jugs, employed Leonard Jarvis as his restorer. Jarvis was commissioned to model a toby of his employer of the style of the 18th century jugs. Lord Mackintosh was so delighted with the result that he instructed Jarvis to produce a similar toby depicting his much admired compatriot - Winston Churchill. The Book of Churchilliana by Douglas Hall, p. 164.
A VERY LARGE COLLECTION OF BAKELITE / CHERRY AMBER ITEMS, consisting of bead necklaces, cylindrical lidded pots, animal formed napkin ring holders, ink well, desk calendars, thermometer, bangles, caddy, pipes, candlesticks, handled tray, shaving brush and box, book formed lidded box, salt & pepper shakers.
An early 20th century stained mahogany dressing table box with applied Arts & Crafts mounts and escutcheon, length 25.5cm, together with an Arts & Crafts brush scoop set and brass coal bucket, height 25cm.Additional InformationKnocks, dents throughout the coal bucket, general wear throughout.
Six Chinese soapstone carvings including a group of two fish and two figures, all with applied bases, and a four piece dressing table set decorated with gilt dragons (part af).Additional InformationHairbrush mount cracked, brush section loose, nail buffer handle lost, buffer section loose. Mount of clothes brush cracked, some further losses and nibbles to the soapstone and general heavy wear throughout.
An Eastern white metal filigree lidded basket with swing handle, stamped marks to base, 7.5cm to top of handle, together with a Norwegian silver horn pepperette, 6cm high, a Dutch silver pill box, with ribbed decoration, two white metal mounted hardstone bowls, 4.5cm diameter, a silver cylindrical pill box, London, by Sl, London, 1977, two relief decorated pill boxes, a Chinese silver plated trefoil shaped box and cover, a white metal mounted milk glass ashtray, a mother of pearl and white metal mounted caviar dish and spoon, a white metal mounted faceted glass bowl and cover, a silver plated strainer, a white metal bottle stopper and a silver mounted brush (qty.)
A silver-backed dressing set with scene of an Art Nouveau style maiden smelling flowers, comprising hand mirror, hair brush and two clothes brushes, Birmingham, 1912, maker's mark of Williams Ltd, in fitted case, together with a silver handled glove hook, silver topped toilet jar and a shoe horn
A small collection of assorted silver items comprising a silver caddy spoon in the form of a right hand by Francis Howard Ltd, Sheffield, 1972, 7.2cm, a small pierced bon-bon dish and a hinged bangle, together with a small picture frame and a silver-backed brush etc. Gross weight approximately 5.36ozt excluding picture frame and brush
A small silver sauce boat, Birmingham, 1940, maker's mark of S Blanckensee & Son, a small silver tankard, a four-section silver toast rack with star shaped handle, Birmingham, 1946, maker's mark of Walker & Hall, a silver-backed brush and mirror set, silver sugar tongs and two silver decanter labels, Birmingham, 1858, maker's mark of John Gilbert
Cian McLoughlin (b.1973) Didi and Gogo Diptych, oil on canvas, 188 x 180cm Signed Provenance: The Shelbourne Hotel, Dublin. April 2006 marked the centenary of Samuel Beckett's birth. In honour of this occasion, the Beckett Centenary Festival Committee, in association with the Gate Theatre and the Department of Arts, Tourism and Sport, launched an exhibition of works by Cian McLoughlin. Showcased at the OPW, these pieces explored Beckett's three main plays - 'End Game', 'Krapp's Last Tape' and 'Waiting for Godot'. In order to prepare for this, McLoughlin spent three years talking to, studying and painting the actors who had become synonymous with Beckett's masterpieces, producing large scale portraits that strove to display not the actor, but the character which they embodied. Although not part of the original Beckett Series, the current works draw wholly on the experience that McLoughlin gained during this process. Commissioned by the Shelbourne Hotel in 2007, these diptychs capture the tragic couplings of Vladimir (Didi) and Estragon (Gogo) and Pozzo and Lucky from 'Waiting for Godot'. Encroaching as spectres from the fog, the faces of Barry McGovern, Johnny Murphy, Alan Stanford and Stephen Brennan are transformed. Their usual expressions are replaced by a haunted, uneasy look, causing us to examine the uncomfortable undercurrent of Becket's most famous work: our own existence. Throughout the play, the characters struggle to complete basic tasks, such as putting on shoes, and amble in a state of confusion and forgetfulness. It would seem that only Didi recalls the events of the previous day, but even so he clings to physical objects as proof, as if he too thinks that, perhaps, their place in the world isn't as concrete as it appears. Such reminders are gratefully accepted by Gogo, who is presented to us as the more vulnerable of the pair; 'We always find something, eh Didi, to give us the impression we exist' In 'Waiting for Godot', Beckett's characters are presented to us as pairs. Dominating the play are Vladimir and Estragon and these are complemented by Pozzo and Lucky. By forming two diptychs, McLoughlin has artfully mirrored Beckett's creation. Each half of the diptych can survive on its own accord, however, it is by pairing the canvases that the work is completed. 'Waiting for Godot' sees Gogo and Didi arguing and Gogo despairing, asking to end the wait. Yet, the pair do not separate. Similarly, Pozzo talks of selling Lucky but Act II sees them firmly side by side. It seems that each would rather stay together in a misery that they know than face an alternative. In one of the darker moments of the play, Didi and Gogo discuss hanging themselves from a tree. Ultimately, it is not the fear of death that holds them back, but rather the fear that one might live and be required to continue alone. By accepting the challenge of his Beckett paintings, Cian McLoughlin was forced to depict the intangible. Each piece became a study in human emotion, his brush strokes carefully gliding through a myriad of thoughts, concerns and fears. In an interview with Fumo Gallery, McLoughlin remarked on a quote by Robert Frost, 'a poem is like ice on a stove - riding on its own melting'. Here, it is clear to see that McLoughlin implemented this philosophy. With each glance, the paint slips forwards, the images tumbling to engulf the viewer in a wave of feeling.
Uberti .44 cattleman black powder muzzleloading revolver, serial number U42296, with 5 inch barrel and six shot cylinder, together with original box with instructions.UK RFD OR A FIREARMS LICENCE WITH CORRECT VARIATION FOR .44 REVOLVER REQUIRED TO BUY THIS LOT.Condition report: The gun is generally in good order. It shows signs of use but good care has been taken of it. The action works correctly and the cylinder indexes as it should. The bore is almost mint, there is just one small spot to one of the lands which will almost certainly remove with a brush. The wood grip has lost some finish.
A Worcester dessert plate, circa 1768-70Decorated in the workshop of James Giles, of small size, the scalloped rim outlined in gold, boldly painted in 'wet brush' style with 'fancy birds', one standing on yellow and red rockwork, another perched on a leafy branch above, the border with a large butterfly, a spray of redcurrants and a pair of plums, 19.5cm diam, red anchor markFootnotes:ProvenanceAlbert Amor, Golden Age exhibition 1980Ralph Kenber CollectionFor a similar plate from The Crane Collection, see Bonhams sale, 31 March 2010, lot 272. See also John Sandon, British Porcelain (2009), p.46 for an example from the Barbara Leake Collection.For further information on this lot please visit Bonhams.com
A pair of Worcester dessert plates, circa 1770Decorated in the workshop of James Giles, the scalloped rims outlined in gold, brightly painted in 'wet brush' style with fruit sprays, including a sliced pomegranate, apple and plums, the borders with further fruit interspersed with butterflies and insects, 19.5cm diam, one with gold anchor mark (2)Footnotes:ProvenanceNorman CollectionRalph Kenber CollectionA similar pair of plates from the Sir Jeremy Lever Collection was sold by Bonhams, 7 March 2007, lot 206.For further information on this lot please visit Bonhams.com
Loading...-
51252 item(s)/page