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Lot 104
The Book of the Household with half leather binding; seven other 19th century leather bound books including The Poetical Works of James Beattie and William Collins; Homeward Bound by J. Fenimore Cooper; The Cabinet of Natural History by William Swainson; The Women of England by Mrs. Ellis etc; and two other books (10)Click here to view further images, condition reports, sale times & delivery costs for this lot.
Lot 121
Victorian leather bound photograph album well stocked with cabinet portraits and cartes de visites; Victorian leather bound album containing laid-in annotated pictures of European Royalty; Victorian desk blotter; two early 20th century autograph albums; two albums of laid-in postcards and photographs of cathedrals and abbeys; quantity of mounted photographic competition entries by K. Hollingsworth; and two manuscript music booksClick here to view further images, condition reports, sale times & delivery costs for this lot.
Lot 430
A 1920's brown lacquered bow front gramophone cabinet of chinoiserie design, with concave sides, decorated in colours and gilt with various figures and oriental motifs, with lifting top and enclosed by a pair of doors on six cabriole legs, 88 cm wide x 50 cm deep x 92 cm high (scuffing and wear and one leg loose) fitted with Marchone gramophone (apparently incomplete)
Lot 37
Frederick Morgan, ROI (British, 1847-1927)Under a changeful sky signed and dated 'Fred Morgan/1878' (lower left)oil on canvas56.5 x 91.5cm (22 1/4 x 36in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 2 October 1985.Private collection, UK.ExhibitedGlasgow, Glasgow Institute of Fine Arts, Spring 1878, no. 1128, price £130.London, Dudley Gallery, Winter 1878 no. 148, price £150.A gipsy mother, with her babe at her breast and a girl at her side, sitting despondingly on a heath under lowering clouds, while the damp sticks under the camp kettle slowly ignite. ('Dudley Art Gallery', Illustrated London News, 30 November 1878 p. 518)'In 1874, Mr. Morgan received the kindest encouragement from Messrs. Agnew and Sons, who purchased all he could do for several years; and during this period he produced many of his most appreciated pictures, The Haymakers (RA, 1876), Emigrants' Departure, (RA, 1875), After the Reaper's Work Is Done (RA, 1878), School Belles (RA 1877), Charity (RA, 1878). All painted in or near the village of Shere, near Guildford, a favourite artists' haunt. Here he had the good fortune to meet such men as Frank Walton. P.R.I., John Reid, John White, and J.L. Pickering.'1Following the opening of the Royal Academy Summer Show in May many London based artists headed for the country to work on their next exhibits. Shere was favoured partly due to its easy access by rail, and unlike today this part of Surrey was a poor, rurally depressed area. In 1875 Fred Morgan and his wife, fellow artist Alice Havers, were fortunate to find accommodation at Edmund's Farm, in the middle of the adjacent village of Gomshall. They returned to the area for the next two summers, to the surroundings and people which inspired them both to paint numerous works.In a later interview Fred revealed the 'for some years in his earlier life he fell under the influence of Fred Walker, and essayed combination of peasant life with landscape.'2 Fred Walker, ARA, lauded for his social realism paintings, had died in June 1875 at the young age of thirty five. Morgan's Under a Changeful Sky was one of a series painted in homage to the master.During the winter of 1877/8 Morgan finalised his previous summer's paintings in his London studio. Two of them, Charity, and After the Reaper's Work is done were sent to the Royal Academy along with Jealousy (The Pet Kitten) all of which were to find favour with the Academy hanging committee and were 'hung on the line'. Before this Fred decided to send the already completed Under a Changeful Sky to the Spring Exhibition at the Institute of Fine Arts, Glasgow. It failed to find a Scottish buyer so he submitted it to the Dudley Gallery, London for their 1878 Winter exhibition 'Cabinet Pictures in Oil'; although oversize for a conventional 'cabinet picture' it was included and received praise from the critics.Morgan consigned his unsold exhibition works to auction in London, but there is no further record of the present lot, until reappearing over a hundred years later at Sotheby's in 1985. On exhibition, the work enjoyed positive critical notices; the Aberdeen Weekly Journal noting that 'Fred Morgan enters on much more serious enterprise than usual in Under a Changeful Sky and he bears his burden well. These poor vagrants of his attract our sympathy and we shiver as we think of the life that lies before them.'3, while The Times commented that 'F. Morgan's Home through the Woodsand his vagrants resting by their black pot and handful of lighted sticks, which he christens Under a Changeful Sky come more distinctly than any of the pictures we have as yet noticed under the head of art manufacture. But of their kind they are pleasant, rich, glowing in colour, skilful in workmanship, and showing a keen and trained sense of the effective and picturesque.'4 Writing in The Era, one critic cites the present lot as 'one of the best pictures in the gallery. It is well hung and deserves that privilege.5, while another notes 'Mr. F. Morgan's powerful 'Under a Changeful Sky' (148), in which a gipsy woman with a baby and girl seated on a wild common are superior to the heavy sky and thick atmosphere.'6 We are grateful to Terry Parker for his assistance in preparing this catalogue entry.1 John Oldcastle, 'The Art of Mr. Fred Morgan', The Windsor Magazine, 1905, p. 15.2 Frederick Dolman, 'Pictures of Children', The Lady's Magazine, Vol. II, no. 15 September 1901 p. 217.3 'Art Gossip – The Dudley Gallery', Aberdeen Weekly Journal, 27 November, 1878.4 'The Dudley Gallery – Cabinet Pictures in Oil', The Times, 28 November 1878 p. 4.5 'The Dudley Gallery', The Era, 1 December, 1878.6 'Winter Exhibitions', The Pall Mall Gazette, 5 December 1878.For further information on this lot please visit Bonhams.com
Lot 125
HOUDINI (HARRY)Portrait photograph postcard signed, inscribed and dated ('Harry Houdini/ Bristol/ 2/14/13'), reproduced by Ernst Schmidt & Co., Lübeck, showing him half-length wearing a pin-striped suit and bow tie, in fine, fresh condition, 142 x 92mm., Bristol, 14 February [19]13Footnotes:'STILL ON THE ALERT FOR NEW IDEAS': Houdini appeared at the Empire and newly-opened Hippodrome in Bristol between Monday 10 February and Saturday 15 February 1913. Notably, it was the year he introduced his famous Chinese Water Torture Cell, first performed in the UK a month earlier in Cardiff, in which he escaped from being suspended upside down in a locked glass and steel cabinet filled with water. The trick was a huge success and he was to perform it for the rest of his career. The Western Daily Press of 11 February notes that he received an enthusiastic welcome from the audiences of Bristol, where he also approached the authorities with the idea of being manacled and thrown off the famous bridge and challenged a number of Bristol's finest able seamen to truss him up to a seven-foot plank. He remained, according to the paper, 'still on the alert for new ideas and offers £100 for a suggestion with possibilities of a new kind of torture by which he can devise means of escape' (Derek Tait, The Great Houdini: His British Tours, 2017).For further information on this lot please visit Bonhams.com
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