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Lot 53
South Arabia, modern day Yemen, ca. 1st millennium BCE. A striking carved stele made of almost translucent alabaster with a low-relief human figure holding what appears to be two children in its arms placed at its center and a worn inscription in the ancient Yemeni alphabet (also known as Old South Arabian), probably in the language of the Kingdom of Qataban, across its top. Twin blank panels frame the figure beneath the inscription. Size: 3.95" L x 5.5" W x 1.4" H (10 cm x 14 cm x 3.6 cm)The deceased in this part of the world were often represented by anthropomorphic funerary stelæ like this one; it is unclear if this example is a portrait of a known individual or not. Stelae like this one have been found in three areas, one of which was the cemetery at Tamna, the capital city of Qataban. The Kingdom of Qataban rose to prominence in the second half of the 1st millennium BCE because it controlled the trade in frankincense and myrrh, incenses required to be burned at altars during religious rituals further north and west. A haunting and beautiful alabaster object, certain to spark conversation, and a reminder of the deeper history of this understudied region. Provenance: Ex-Smith Collection, New York, NY Condition: Losses to edges and wear and pitting to surface. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119266
Lot 1273
CASK OF NORTH OF SCOTLAND 1973 AGED 43 YEARS CASK NO #17414 Distilled 29th October 1973. Regauged 22nd November 2016: RLA 30.8 litres. 46.2% volume.North of Scotland distillery was established in 1964 by George Christie, a retired Royal Navy submarine captain, for the purpose of producing grain whisky. The company closed permanently in 1982 and all facilities were demolished in 1993.According to those who worked with Christie at the time, this whisky was distilled from malt grain uniquely modified Coffey Stills and aged in bourbon casks. In 1973, Mr. Christie and his partners determined it necessary to raise additional capital to finance the growth of their operation. To do so, they listed casks for sale in the classified section of the Wall Street Journal, which is how they were obtained by the current seller. Over the past 43 years, all such privately held casks were sold years before the whisky reached its current maturity. According to the managers of the storage facility where the cask is kept, this is among the very oldest casks in their warehouse.Tasting notes conducted by Jim Coleman of "The Whisky Boys" are as follows.Nose: Lemon and honey, vanilla sponge cake, mild oak, quite a citric burst.Taste: Gooey Danish custard pasty, still citric but now it is orange and lemon rind, creamy and the oak is still evident.Finish: Medium finish, fresh, sweet and oaky.
Lot 555
A fine pair of 19th century French estours green marble and ormolu mounted columns, each with a detachable square revolving top above a Corinthian capital, the interiors stamped 'GB 296' and 'GABROL', possibly for Gaspard Brandt (1796-1846) above a turned stem and a laurel wreath base on a stepped plinth, 113.2cm high, 29cm square. (2) Provenance: Bought from Great Brampton House Antiques, 8th December 1983.
Lot 456
An 18th century carved limestone column, with a Corinthian capital and a rectangular plinth, 411.5cm high (approximately). Provenance: Roger Warner Antiques, Burford Purchased from Roger Warner's cousin Robin Eden, Corsham, 17th January 1986. The property of the Rt. Hon. Sir Mathew Thorpe. Please note this lot is being sold in situ, it is located on a ridge just outside of Seend, a map is available on our website, alternatively contact the department for details. This lot is being sold under the condition that the buyer collects it by the 31st January 2017.
Lot 31
Abdoulaye Guindo (b.1966 - ) bronze sculpture of a standing man in the style of Giacometti measuring 31cm high excluding base. Abdoulaye Guindo is a sculptor working in Bamako the capital of Mali. Guindo is Dogon by birth and works as a plumber, creating his Giacometti inspired sculptures in his spare time from scrap metal. All lots in this Tribal and African Art Sale are sold subject to V.A.T. Therefore £100 hammer price will have Buyers premium on top and also an extra £20 in V.A.T. Condition report: see terms and conditions
Lot 858
Ashendene Press. Quinti Horati Flacci Carmina Alcaica, Ashendene Press, 1903, 69pp., printed in Subiaco type on Japanese vellum, opening capital initial in gold, other capital initials in alternating red and blue by Graily Hewitt, original limp vellum, spine titled in gilt, 8vo, limited edition, one of 150 copies printed on Japanese vellum, from a total edition of 175 Tomkinson 16. Tomkinson copy. (1)
Lot 373
Hooke (Andrew). An Essay on the National Debt, and National Capital: or, the Account truly stated, Debtor and Creditor, 1750, 59pp., author's signature to verso of half-title, bound with Shirley (William), Observations on a Pamphlet lately Published, Entitled, the Genuine and Legal Sentence Pronounced by the High Court of Judicature of Portugal upon the Conspirators against the Life of his most faithful Majesty; with the just Motives for the same, 1759, 72pp., bound with Wilkie (J., Publisher), Memorials of the British Consul and Factory, at Lisbon, to His Majesty's Ambassador at that Court, and Secretaries of State of his Kingdom, 1766, 112pp., half-title with few early annotations, bound with Griffiths (R., publisher), Considerations upon a Reduction of the Land-Tax, 1749, 67pp., half-title, dampstained particularly to final leaf, with some mottling and closed tear, bound with, Owen (W., publisher), A True and Impartial Collection of Pieces, in Prose and Verse, which have been written and published on both sides he Question during the Contest for the Westminster Election..., 1749, 91pp., light staining to title, bound with three other 18th century pamphlets, occasional light dust-soiling & few marks, contemporary quarter sheep, joints cracked and loss to upper and lower panels of spine, worn, 8vo (1)
![[1798 Interest] Extracts from the Press: A Newspaper Published in the Capital of Ireland During Part of the Years 1797 and 17](https://cdn.globalauctionplatform.com/e91816df-556e-4bc6-906a-a6c700f8fac3/280d944b-d571-42b7-c7f3-dcf89fc6523b/468x382.jpg)
Lot 373
The Playwrights gives his view of the State of Irish Theatre& Outlines the Case for a New DepartureFRIEL, Brian, Dramatist [1929-2015]. An important typescript signed letter, 5 pp, with a manuscript postscript, December 1974, from his home near Lifford, Co. Donegal, to the Abbey actor Pat Laffan (a member of the Actors Equity council) and the theatre designer Bronwyn Cassin, giving a frank view of the state of Irish theatre, and outlining the case for a new departure. The letter arises from discussions in an Equity subcommittee of which Friel and Laffan were members. 'My first concern, probably my only concern', Friel says, 'is the state of theatre in Ireland today. I think we are on the verge of a new direction .. Do we think automatically in terms of how best the Abbey can be reformed and made the vehicle for these new concepts, or do we attempt the new excursion without the inhibition of an existing place ..? The decision I have come to is that the Abbey, even a reformed Abbey, cannot [be] the incubator. It has evolved into an institution of such magnitude that necessarily most of its energy is consumed with keeping alive and keeping open. Before it even begins to think of what kind of plays it ought to do .. it is concerned .. with its capital, its publicity, its expenditure, its intake, its public, its cleaners, its caterers .. These are not the problems that are exercising me. Nor were they the problems of Yeats-Gregory-Fay ..'Our concern .. is to forge a new Irish drama .. The new voice I think I detect and the new direction I know to be necessary are the things that engage me now, and these could not find accommodation in Abbey Street. Even if the Abbey could be restructured .. the whole Abbey enterprise would be too lavish and too expensive to nurture a new and delicate and uncertain idea ...'When I come to a writing-down of what form the new Irish drama will take, of course I falter. I have no precise answers .. He says it will not be a Gaelic-speaking or a poetic drama, because both of these are elitist in practice and theatre is by definition vulgar, of the vulgus. It has nothing at all to do with politics because they are trivial, of no importance whatever.'What I envisage is a small group of actors, writers, designers who are drawn together out of mutual concern and interest; a vague but very real awareness that what is taking place on Irish stages bears very little relationship to either the imaginative or the day-to-day life we inhabit; a recognition that what it is to be Irish must be shaped and presented; a knowledge that the old seam of realism-naturalism is exhausted; a conviction that we cannot grab a theory from England or Germany or the U.S. or wherever .. a belief that these new definitions .. will evoke a response at first from tiny audiences but later from greater numbers .. and that we must find new eyes and ears and tongues to see and hear and express the Ireland that hasn't been expressed dramatically for 30 years.'Although Friel remained with the Abbey for some years more, notably with his great play Faith Healer [1979], it is clear that the line of thinking outlined here was what led him in 1980 to become co-founder of the Field Day Theatre -- precisely the kind of loose creative collaboration he suggests in this remarkable letter. Throughout the 1980s his work was produced by Field Day, beginning with Translations [1980], but in 1990 he finally returned to the Abbey with Dancing at Lughnasa.With an earlier manuscript signed letter to Laffan, May 1974, 2 pp, outlining similar ideas, and a note dated 27 Oct. (no year) about casting for a film. An important collection of letters from one of the great masters of Irish Theatre, outlining ideas and dilemmas which are still relevant today. Friel rarely gave interviews, and this is a very valuable exposition of his ideas as he approached a turning point in his career. A Saoi of Aos Dána, with a string of Broadway successes to his name, Friel was undoubtedly the leading Irish playwright of the latter half of the 20th century. As a m/ss, w.a.f. (3)
Lot 120
ATATURK MUSTAFA KEMAL: (1881-1938) Turkish Army Officer and Revolutionary, founder of the Republic of Turkey serving as its first President 1923-38. A rare autograph plan in Ataturk's hand, unsigned, one page (faintly squared graph paper), folio, n.p. (Ankara), n.d. (1927). In bold pencil Ataturk has drawn a rough plan outlining the geographical positions of several Turkish cities which he identifies, most with abbreviations. Ataturk marks Usak, a city in the interior part of the Aegean Region of Turkey and capital of the Usak Province, as well as Dagyenice ('D'), also in the region of Usak and southwest of Ankara, Eskisehir ('Esk') a city in northwestern Turkey and the capital of the Eskisehir Province, and Bursa ('B'), the fourth most populous city in Turkey, located in northwestern Anatolia within the Marmara Region. Ataturk has identified each of the towns and cities with circles (some shaded) and drawn various lines between each. An interesting document relating to Turkey's geography in the hand of the Republic's founder. Some light folds and creasing, otherwise VG Provenance: The present document originates from the papers of Dr. Eugene Pittard (1867-1962) the Swiss Anthropologist. Pittard authored several works on Turkey, including Le visage nouveau de la Turquie (1931), and in 1927 he and his wife, Hélène Dufour, visited Ankara and were entertained by Ataturk. It was during this trip and whilst discussing Turkey that Ataturk drew the present plan to illustrate the distances between various key Turkish cities. Another similar document relating to Turkey (and the modernisation of the country's language, with which Pittard assisted) in Ataturk's hand and also from Pittard's papers was included in the Albin Schram Collection of Autograph Letters (see Christie's auction in London, 3rd July 2007, lot 326). Ataturk rose to prominence in the Turkish War of Independence where he led the Turkish National Movement to victory. After establishing a provisional government in Ankara, Ataturk then embarked on a programme of political, economic and cultural reforms, seeking to transform the former Ottoman Empire into a modern and secular nation-state. The principles of Ataturk's reforms, upon which modern Turkey was established, are referred to as Kemalism. His achievements in Turkey are an enduring monument to Ataturk.
Lot 23
CASANOVA GIACOMO: (1725-1798) Italian Author and Adventurer. 'This modern evil called Grippe'.A.L.S., Casanova, two pages (written on the first and third sides of the conjugate leaves), 4to, Prague, 18th May 1788, to Count Antonio Collalto ('Your Excellency, my Beloved Lord') in Vienna, in Italian. Casanova announces `This modern evil called Grippe, after travelling through the Austrian capital, did not forgive the Bohemian capital and caught me, obliging me to attend V[ostra] E[ccellenza] with such an ungrateful appearance; but thank God, V E is free of it, not me, I am in bed´ further remarking `I have here with me your precious letters dated 10th and 13th, but with my headache I am unable to remember if I have already answered to the first or not, so in order not to fail, I´ll answer to both of them.´ Casanova continues to refer to some books sent to his correspondent and also to some other individuals, `I understand, according to your letter, that you have received the box with the books, and I read also and appreciate the news regarding the call from the French Ambassador´s to Venice, and as a consequence the imbroglio with Naples, an affair on which I fully ignore the cause. According to your second letter I understand that with your usual excess of goodness, V.E. went personally to deliver to Countess Clari-Ligne the volumes, and that you refused to accept the nine Guilders. V.E. acted wisely, nevertheless I will write today to the Prince of Liechtenstein who knows me, and I hope that all will be taken care of in a noble way.´ He further writes `My brother wrote to me and he praised your kindness in sending the thirty volumes, and promised he will send the money to you as soon as he will receive it from the associates… Count Waldstein has the first 72 copies…and my brother promises he will get 24 more associates....´ Casanova concludes his letter `Additionally to all mentioned, I beg you to send me on the 27th of the present month the money you may have for me as I have to pay a bill of exchange before the end of the month. The third volume was welcomed here with applause and allowed me to get eight more associates. The King´s speech on page 261 pleased a lot.´ An attractive, boldly penned letter. A few very minor, insignificant holes to some words of text, evidently caused by the ink burning the paper, otherwise VG Count Antonio Collalto - Italian Nobleman and Military officer. Aloys I (1759-1805) Prince of Liechtenstein. He expanded the Liechtenstein library through the purchase of complete collections of books. Joseph Karl Emanuel Waldstein (1755-1814) Count Waldstein. Casanova spent the last years of his life in Bohemia as a librarian in Count Waldstein's household, where he also wrote the story of his life. Casanova's autobiography, Histoire de ma vie, is regarded as one of the most authentic sources of the customs and norms of European social life during the 18th century. Casanova is remembered today for his often elaborate and complicated affairs with women and his name is synonymous with 'womanisers'. He associated himself with European Royalty, Popes and Cardinals as well as luminaries including Voltaire, Goethe and Mozart.
Lot 149
CHURCHILL WINSTON S.: (1874-1965) British Prime Minister 1940-45, 1951-55. Nobel Prize winner for Literature, 1953. An excellent, large signed sepia 9.5 x 13.5 photograph of Churchill in a head and shoulders pose wearing a polkadot bowtie. Photograph by Harris and Ewing of Washington. Signed ('Winston S. Churchill') to the lower border immediately beneath the image. An unusual image to find signed by Churchill. Some very light, extremely minor age wear to the edges, otherwise VG From Churchill's appearance, and the photographers being based in Washington, it is likely that this photograph was captured while Churchill was in the American capital in March 1946. Having failed to be re-elected as Britain's Prime Minister after the end of World War II, Churchill met with American President Harry S. Truman in Washington before travelling to Fulton, Missouri, on 5th March 1946. In the President's home town, Churchill delivered his famous "Iron Curtain" speech to 40,000 people gathered at Westminster College. The speech, entitled The Sinews of Peace changed the way that the Democratic West viewed the Communist East and, as result of his use of the term iron curtain, the phrase became popularly recognized as the division of Europe between East and West. Many historians believe Churchill's iron curtain speech marked the beginning of the Cold War. Churchill was voted the Greatest Briton of all in a BBC poll of 2002 and Time magazine declared Churchill as one of the most influential leaders in history in 2007.
![HUGO VICTOR: (1802-1885) French Poet and Novelist. A.L.S., Victor Hugo, one page, 8vo, 17th May [1849], to [Athanase Laurent](https://cdn.globalauctionplatform.com/e4a5dd8c-8f10-4d54-b199-a6c800823567/307a5dfa-ebb8-49fe-9817-e4f7c820e3d0/468x382.jpg)
Lot 55
HUGO VICTOR: (1802-1885) French Poet and Novelist. A.L.S., Victor Hugo, one page, 8vo, 17th May [1849], to [Athanase Laurent Charles] Coquerel, in French. Hugo writes a letter of introduction and states, in part, `It is with great pleasure that I introduce you to Mr. Gayard, member of our Peace Congress. He is a distinguished writer and a bearer and friend of the higher Christian thoughts whose apostle is yourself. ´ With blank integral leaf. VG Athanase Laurent Charles Coquerel (1795-1868) French Protestant Theologian and Politician. Coquerel was elected deputy of the Constituent Assembly following the revolution of February 1848 and four days before the present letter was written he had become a member of the Legislative Assembly in the French Parliamentary elections of 13th & 14th May 1849. The French Poet, Novelist and Dramatist of the Romantic Movement, Hugo is considered one of the greatest and best-known French writers. In France his literary fame comes first from his poetry, however outside of France his best-known works are the novels Les Miserables (1862) and Notre-Dame de Paris (1831; known in English as The Hunchback of Notre-Dame). Hugo also earned respect as a campaigner for social causes, such as the abolition of capital punishment. (See also lot 71)
Lot 71
HUGO VICTOR: (1802-1885) French Poet and Novelist. Vintage signed sepia cabinet photograph, the oval image depicting Hugo in a head and shoulders pose. Photograph by M. Lopez of Paris. Signed by Hugo in bold black fountain pen ink with his name alone to the lower photographer's mount. Matted in dark brown and framed and glazed in a decorative frame to an overall size of 10 x 12. Some very light, extremely minor age wear, VG The French Poet, Novelist and Dramatist of the Romantic Movement, Hugo is considered one of the greatest and best-known French writers. In France his literary fame comes first from his poetry, however outside of France his best-known works are the novels Les Miserables (1862) and Notre-Dame de Paris (1831; known in English as The Hunchback of Notre-Dame). Hugo also earned respect as a campaigner for social causes, such as the abolition of capital punishment. (See also lot 55)
Lot 105
ROYAL CHILDREN OF KING GEORGE V: An exceptional and rare vintage signed sepia 8 x 9.5 photograph by each of the six children of King George V and Queen Mary individually, comprising - Edward, Prince of Wales (1894-1972) later King Edward VII, then Duke of Windsor Prince Albert, Duke of York (1895-1952) later King George VI Mary, Princess Royal (1897-1965) later Countess of Harewood Prince Henry (1900-1974) later Duke of Gloucester Prince George (1902-1942) later Duke of Kent, and Prince John (1905-1919) The image depicts the six children standing together in full length poses in two rows on the outdoor steps of a royal residence. Princess Mary stands in the centre of the back row, flanked by the two future Kings of England, the two youngest Princes standing immediately before them on the front row, each wearing sailor suits and with their brother's hands resting on their shoulders. Prince Henry is attired in a formal suit and stands in the centre of the front row with his sister placing one hand on his left shoulder. Photograph by W & D Downey of London, and from the appearance of the children most likely taken around 1910. Signed by the children in bold, black fountain pen inks, each with their names alone to the photographer's mount. Each of the children have signed using their family names; Edward, Prince of Wales signing himself 'David', Prince Albert, Duke of York signing himself 'Bertie', the Princess Royal signing herself 'Mary', Prince Henry signing himself 'Harry', Prince George signing himself 'Georgie' and Prince John signing himself 'Johnnie' in a small, neat hand, in capital letters. Very slightly neatly trimmed to the lower edge, otherwise VG Very slightly neatly trimmed to the lower edge, otherwise VG An extremely rare signed Royal family portrait. The fact that each of the children have signed their family names on the present photograph would indicate that it was originally presented to an individual closely associated with the family, and most likely another Royal family member. Each of the children of King George V were born before he became King in 1911. Prince George, when Duke of York, had married Princess Mary of Teck on 6th July 1893. They had five sons and one daughter together, two of whom would become Kings themselves. Their youngest son, Prince John, who caused the King and his consort great anxiety for many years, tragically died at the young age of 13 after a lifetime of ill health. Randolph Churchill claimed that King George was a strict father, to the extent that his children were terrified of him. The King apparently once remarked to the Earl of Derby, 'My father was frightened of his mother, I was frightened of my father, and I am damned well going to see to it that my children are frightened of me'.
Lot 27
ROUGET DE LISLE CLAUDE JOSEPH: (1760-1836) French Army Officer of the French Revolutionary Wars who wrote the words and music of the French National Anthem La Marseillaise. A.L.S., J. Rouget de Lisle, one page, 8vo, n.p., n.d. ('le Samedi matin'), to a gentleman [M. Pleyel], in French. Rouget de Lisle intriguingly writes 'In exchange for the most indiscreet demand that I made of you yesterday allow me to give you a piece of useless advice…you spoke the other day of your liaisons with Mr. Garnery. If you have, or will be, in the position of entering into some interesting relationships with him, be on your guard. We see that the position is nothing less that certain… he is himself being watched…' A few minor tears to the left edge, only very slightly affecting a few words of text, but not the signature. Strengthened to the verso, otherwise VG Ignace Pleyel (1757-1831) Austrian-born French Composer. Pleyel had been friends with Rouget de Lisle having worked together on Pleyel's Hymne à la liberté (1791), to which Rouget de Lisle had written the libretto. With the onset of the Reign of Terror in 1793 and 1794, life in France became dangerous for many. Pleyel was brought before the Committee of Public Safety a total of seven times due to the following: his foreign status, his recent purchase of a château, and his ties with the Strasbourg Cathedral. He was subsequently labeled a Royalist collaborator. The outcome of the Committee's attentions could easily have been imprisonment or even execution. With prudent opportunism, Pleyel preserved his future by writing compositions in honor of the new republic. La Marseillaise is widely regarded as one of the best and most instantly recognisable National Anthems ever composed. Written in 1792 by Rouget De Lisle in Strasbourg following France's declaration of war against Austria, the revolutionary song was originally entitled Chant de guerre pour l'Armee du Rhin ('War Song for the Rhine Army'). An anthem to freedom and a patriotic call to mobilise all citizens and an exhortation to fight against tyranny and foreign invasion, the French National Convention adopted it as the Republic's anthem in 1795. The anthem acquired its nickname after being sung in Paris by volunteers from Marseille marching on the capital. The first example of the 'European march' anthemic style, La Marseillaise's evocative melody and lyrics have led to its widespread use as a song of revolution and its incorporation into many pieces of classical and popular music.
Lot 125
ADAMS MARCUS: (1875-1959) British Society Photographer, noted for his portraits of children. An interesting archive of letters, personal papers, original photographs and drawings etc., previously belonging to Adams, featuring correspondence between Adams and his sitters, most notably the young Princess Elizabeth, the future Queen Elizabeth II, and quite possibly including the earliest signature of the monarch (aged 3 years) to have ever appeared at auction. The archive includes – (i) An extremely early, bold pencil signature (‘Elizabeth’) by Princess Elizabeth, at just 3 years of age and most likely executed with the assistance of her nurse, Clara Knight (1879-1946), known as ‘Allah’ within the Royal household, at the foot of an A.L.S. C Knight, by Knight, one page, 8vo, Piccadilly, 18th December 1929, to Marcus Adams, announcing ‘Your beautiful holly has made us look like Xmas already! The Princess says I am to say “Thank you very much for your lovely holly”. I don’t think I have ever seen such wonderful berries’.(ii) A remarkable and charming series of three folio sheets of paper removed from Marcus Adams’ sketchbook and featuring a series of bold pencil sketches and doodles accomplished by the three year old Princess Elizabeth, with the assistance of the photographer, the first image is open to interpretation and depicts the head and neck of what could either be described as a somewhat fierce looking animal with cat like features, or a human with a rather angry stare, annotated by Adams ‘Drawn by Marcus Adams July 31st 1929 with the aid of Princess Lillybet (sic) in the children’s studio, London’, the outline of the drawing, including the ears, most likely in the hand of the Princess and the facial features, in particular the eyes, most likely in the hand of Adams. A long arched line appears above the drawing, again annotated by Adams, ‘This line was drawn by Princess Lillybet (sic) July 31st 1929’, the page also featuring the surname ‘Adams’ written in capital letters, evidently by the photographer himself. The second page features a pencil list in the hand of Adams (including ‘Bulbs, Seeds, Roses, Sweetpeas’ and other garden and household items) over which appear a series of drawings of animal heads, most resembling cats, again evidently drawn principally by Adams in an attempt to teach the young Princess how to draw, but also with some less well accomplished drawings of animal heads, undoubtedly the efforts of the Princess. The third page features a pencil drawing by Adams of a large country house and gardens, with a sole figure walking across the lawn and with a large tree in the foreground, the page featuring a series of somewhat random and bolder pencil lines, scribbles and circles etc., obviously the work of the young Princess. The name Lilybet appears at the base of the page, in the hand of Adams, and is heavily crossed through in pencil, presumably by the Princess.(iii) A rare, early A.L.S., Elizabeth, one page, 8vo, Piccadilly, 18th December 1933, to Marcus Adams (‘Dear Mr. Adams’), stating, in full, ‘Ever so many thanks for the lovely holly you sent me today, and the Xmas cards. Wishing you a very happy xmas, from Elizabeth’. Accompanied by the original envelope hand addressed by the Princess. Some light overall staining and soiling, slightly affecting the text and signature.(iv) A fascinating autograph manuscript signed (‘Marcus Adams’) by Adams entitled ‘Notes’ on my contacts with the Royal Family from 1928 to present day, nine pages, 4to, n.p., 1958, stating, in part, ‘…the curtain is completely raised to reveal the understanding of prophecy. The world will be awakened to realise the importance of this age and how vital the birth of Princess Elizabeth is in the fulfilment of things come…For this reason I appreciate… and feel highly honoured to have had the opportunity of making exclusive portrait records of the early life of this important personality……I have produced a series of portraits that convey the dignity of Royalty combined with a standard that justify my efforts, they are not just mere snapshots taken in a careless and casual fashion that may be news today and forgotten soon after… but never reach the standard of dignity that the Royal family deserve…Events can be recalled at the time of the Coronation of King George, when in one day over 200 called at the studio for press copies… to say nothing for the telephone calls… It was estimated that one particular group was produced… to some thousand million imprints. Besides the actual press there was always a constant request for right to reproduce… on mugs, jigsaw puzzles, handkerchiefs… babies rattles, almanacs, these all had be considered on their own merits, if any doubt was involved it was always referred to the Controllers of the Palace …I well remember on one occasion at Windsor the leading cable got so warmed up it showed signs of burning…I recall an incident that happened during the sitting my assistant whispered to me that the focussing screen had smashed. I met the circumstance calmly by taking two stamps from my wallet and sticking it together. The King who was always alert, remarked What’s the trouble Adams, Oh only the screen is broken and I am mending the bits with two of your fathers portraits, they acted in a perfect fashion and we can proceed with all speed….I was working with the late Queen Mary and Princess Elizabeth, she was in a great hurry, so I lost no time… After I had finished my part Her Majesty turned to Mr. [Bertram] Park and said, As Marcus Adams has been so quick I can spare you time to make some pictures of me, which dress would you like best… Thus Mr. Parks made some interesting studies, whilst I acted as his assistant. She [Elizabeth] was a child and I treated her as a child… a sitting would last about an hour. During one sitting complete with baby Margaret and the parents: my son tells me I exposed about 300 plates, it was probably the most difficult task I had encountered…’ Stapled within stiff card wrappers bearing the ink title and signature of Adams to the front cover.(v) A.L.S., Marcus Adams “Gollywog”, one page, 4to, Swallowfield, Berkshire, Christmas 1931, to ‘H.R. Princess Elizabeth’, stating, in full, ‘A sprig of Holly and a big wish for a very Happy jolly & Bright Xmas from the Hills of Oxfordshire and the sender’.(vi) A collection of ten folio pages removed from a scrapbook belonging to Adams and with various A.Ls.S., T.Ls.S., autograph notes, a few pencil drawings, some original photographs by Adams, Bertram Park and Howard Coster (some loose and most neatly laid down to pages) etc., all relating to the photographer’s work with the British Royal family and others, 1929-34,(vii) A collection of correspondence comprising around 60 A.Ls.S., T.Ls.S., a few telegrams etc., from various individuals, most ladies-in-waiting to various members of the British Royal family but also including some other notable individuals, all to Marcus Adams or his son Gilbert Adams, late 1920s-1990, most on the subject of photographs, thanking Adams for prints or arranging appointments etc.,An exceptional archive of material containing several extremely rare examples of the autograph of the young Queen Elizabeth II in various forms. Some age wear, generally G to VG, Qty. Owing to restrictions imposed by the-saleroom the complete catalogue description can not be shown here. Please contact the auctioneers for further details.
Lot 88
ZOLA EMILE: (1840-1902) French Novelist, Playwright & Journalist. A.L.S., Emile Zola, two pages, 8vo, Medan, 18th August 1893, to a gentleman, in French. Zola informs his correspondent that he has just officially accepted the invitation of the English journalists 'and it is therefore absolutely decided that I shall attend their congress'. The novelist asks that he be kept informed if something untoward should happen and that his correspondent also sends him, as soon as possible, the toast to which Zola will have to respond to, further commenting 'They will also ask me, I believe, to speak anonymously to the press….Would you be so kind as to tell me what you think and what the majority of the journalists think. I want to know the land on which I am to walk'. In concluding Zola remarks that he will perhaps call on the services of his correspondent whilst in London. Some very light, minor age toning to the extreme edges and a few small areas of paper loss and minor tears, largely to the edges of the central vertical fold, otherwise about VGAs the present letter confirms, Zola did indeed travel to London to address the Institute of Journalists at their conference in 1893. Whilst in England's capital Zola was also honoured by one of the regular grand firework displays at Crystal Palace. On his visit the novelist was later to state 'I came away from London with a profound admiration of its wealth, grandeur and immensity. We have nothing in France to equal such things. It is a city made for me'. Zola was to return to London five years later, living in Upper Norwood from October 1898 to June 1899 while in voluntary exile during the Dreyfus affair. Zola was an important figure in the political liberalisation of France and in the exoneration of the falsely accused and convicted army officer Alfred Dreyfus which is encapsulated in the renowned newspaper headline J'accuse. Zola was nominated for the first and second Nobel Prize for Literature in 1901 & 1902.
![ZEPPELIN FERDINAND VON: (1838-1917) German General and Aircraft Manufacturer. A.N.S., G[raf] V[on] Zeppelin, to the upper par](https://cdn.globalauctionplatform.com/e4a5dd8c-8f10-4d54-b199-a6c800823567/b8aeb022-afa5-478d-b118-c1d4a3f700ed/468x382.jpg)
Lot 104
ZEPPELIN FERDINAND VON: (1838-1917) German General and Aircraft Manufacturer. A.N.S., G[raf] V[on] Zeppelin, to the upper part of a letter written to him, comprising five lines of text on the first 4to page of the received letter, Berlin, 25th November 1909, to his private secretary Uhland, in German. Zeppelin's note appears on an A.L.S., H. Mohlau, by Hermann Mohlau, two pages, 4to, Friedrichshafen, 23rd November 1909, to Zeppelin, on the attractive printed stationery of the Hotel Deutsches Haus, in German. Mohlau writes to Zeppelin concerning a mortgage of 45000 Marks and, two days later, the General forwards the letter to Uhland with a corresponding note accepting Mohlau's terms, subject to two conditions, stating '1) Cheaper interest - and that my expenses for the procurement of the capital are covered. 2) Future repayment…´ With staple rust stains and small holes to the upper and lower left corners of each page, not affecting the text or signatures of either Mohlau or Zeppelin, otherwise VG The former German General founded the Zeppelin Airship Company having pioneered rigid airship development at the beginning of the 20th century. Zeppelin's notions were first formulated in 1874 and developed in detail in 1893. They were patented in Germany in 1895 and in the United States in 1899. After the outstanding success of the Zeppelin design, the word 'zeppelin' was commonly used to refer to all rigid airships. In 1909 (the same year as the present letter, and perhaps a reason for the financial transaction it refers to) Zeppelin founded the world's first airline in revenue service, the Deutsche Luftschiffahrts-AG (DELAG). The airships did not provide a scheduled service between cities, but generally operated pleasure cruises, carrying twenty passengers and by mid-1914 DELAG had carried over 10,000 fare paying passengers on over 1,500 flights. During World War I the German military made extensive use of Zeppelins as bombers and scouts, killing over 500 people in bombing raids in Great Britain. The Hindenburg disaster of 1937, along with political and economic issues, hastened the demise of the Zeppelins.
Lot 76
A candelabra with four reeded scrolled arms decorated with acanthus motifs which can be altered to a single candle stick on a shaped square base decorated with flower and acanthus details fitted with a fluted column and removable sconce, there is sign of repair between the base and the column and between the capital and drip pan on two arms, 46cmH
Lot 1691
11th-12th century AD. A gold ring with tapering shank, the lower part ridged, the bezel formed as a reclining lion stretched over shoulders of ring, front paws crossed, and with head turned to one side. 10 grams, 20.30mm overall, 14.75mm internal diameter (approximate ring size British H, USA 3 3/4, Europe 6.18, Japan 6) (3/4"). Ex Beale collection, Kent, UK; acquired on the UK art market. The style of the lion is similar to those depicted in the mosaics on the wall of the throne room of King Roger II at the royal palace, and the Palatine chapel, of Palermo, Sicily. It has been suggested that these were influenced by Sassanian imagery that would have been familiar to the Normans from their travels in the east as mercenaries under the Byzantine emperors.The lion also appears on a capital in the cloister court of Monreale, Sicily, on the shields of Saracen soldiers in the service of the King of Italy, and as a repeating motif on the exterior of the apse of Palermo Cathedral. Lions were commonplace in eleventh century art and sculpture and are often found associated with Norman royal families as a symbol of their court. The contemporary use of similar symbols in the Arab and Byzantine worlds, and the fact that Saracen architects designed some of the decoration for the Sicilian cathedrals, whose mosaics reflect Byzantine influences, suggests a kingdom that benefited from strong cultural and economic links with the wider world. . Very fine condition. Very rare.
Lot 634
Third Intermediate Period, 21st-23rd Dynasty, 1075-732 BC. A black basalt head from a composite statue of a male, possibly the god Amun, showing eyebrows and cosmetic lines in raised relief, slightly flaring nose and wide mouth with fleshy lips; smooth polish to the surface; mounted on a custom-made stand. Cf. Sotheby's, Bond Street, London, sale 93672, 9 December 1993, lot 279. Accompanied by an Art Loss Register certificate. 634 grams total, 10cm including stand (4"). Property of a North American gentleman; previously in the Hartmann collection, Austria, before 1980. Amun, whose name means 'the hidden one', was an ancient deity that was possibly connected to the creation of the primordial universe. He was the chief deity of the city of Thebes in Southern Egypt which eventually became the capital during the New Kingdom. With the rise of the city as the capital and the presence of the royal family Amun, along with his wife Mut, and son Khonsu, became the chief deity of Egypt and a vast and elaborate temple complex was constructed to him, being added to by each successive Pharaoh. Amun was commonly depicted as a male wearing a kilt, long false beard and a crown composed of two tall feathers. He could also take on the form of a ram, especially in his role as a primordial creator god. It is during this period that the worship of Amun became more complex with him being identified with the fertility god Min, and the sun god Ra. Each Pharaoh was considered to be the son of Amun, thus legitimizing his rule, but also acting as a symbolic reminder that the Pharaoh represented the stability and order brought to the world through the gods. Amun enjoyed royal patronage and worship for well over a thousand years until his popularity waned in the tenth century BC, due in part to the economic collapse of the country that resulted in the lack of resources to maintain the vast temples and the costly rituals. Amun continued to be worshipped into later periods, and was identified by the Greeks with Zeus, and Jupiter by the Romans, thus still upholding his position as king of the gods. He maintained an important shrine at the oasis town of Siwah where he was worshipped in the form of a large stone, possibly a meteorite, that was famous for its oracles. The shrine was visited by Alexander the Great after he liberated Egypt from the rule of the Persians. It is here that Alexander was declared to be the son of Amun and which led him to be depicted with ram's horns on his coin portraits. . Very fine condition.
Lot 1487
10th-12th century AD. A bell-shaped ceramic bowl with cream glaze, basal ring, scene to the inner face of a frieze of advancing birds amid foliage larger bird to the centre. See Lane, A. Early Islamic Pottery: Mesopotamia, Egypt & Persia, London, 1947 for discussion. 446 grams, 21.5cm (8 1/2"). Property of a European collector living in London; acquired before 2000. This type of pottery is typical of that produced at Nishapur, Iran, capital of the Tahirid dynasty. Wares of several distinct types were made here, the most distinctive of which have a red of buff body and designs in several colours, black, green, red and bright yellow being the most usual, under a colourless glaze. The pottery is mostly thin, with widely flaring sides. It was exported as far as Central Asia, notably Samarkand. . Fine condition, restored.
Lot 2245
Old Akkadian, late 3rd millennium BC. A black agate cylinder seal with intaglio scenes of contest between a human hero (Gilgamesh), two figures with curved necks and horses' manes, two lamassus, amid bushes and foliage. 36 grams, 34mm (1 1/2"). Private collection, London, UK; formerly with Persepolis Gallery, Mayfair, London, UK; in the 1980s. It is widely believed that Gilgamesh was a historical king of the Sumerian city of Uruk some time during the Early Dynastic Period. By the Later Dynastic Period this figure had been transformed into a deity and was already being worshipped at a number of different places in Sumer. He was considered the patron deity of a number of kings and is described as 'divine brother' on a number of inscriptions. There are five independent narrative poems that date to the first half of the second millennium BC and which collectively relate the myths associated with the god. These are, 'Gilgamesh and Agga', which relates to the rebellion of Gilgamesh against his overlord and benefactor, King Agga of Kish. 'Gilgamesh and the Cedar Forest', relates how the hero and his friend Enkidu defeat and kill the monster Humbaba, who had been appointed by the god Enlil as guardian of the cedar forest. 'Gilgamesh and the Bull of Heaven', tells how the heroic duo defeat and kill a bull that had been sent by the goddess Ishtar after he had rejected her sexual advances. 'The Death of Gilgamesh' is poorly preserved, but seems to relate to the state funeral of Gilgamesh and his arrival in the underworld. In 'Gilgamesh, Enkidu and the Nether World', Gilgamesh questions the spirit of Enkidu about conditions in the underworld. By the Old Babylonian Period these stories had been elaborated into one grand epic which survives in twelve fragmentary tablets, first discovered in the library of the Assyrian king Ashurbanipal at his capital of Nineveh. Such was the popularity of Gilgamesh that he is one of the most commonly depicted images on cylinder seals from across Mesopotamia. . Very fine condition. Very rare.
Lot 2301
7th-6th century BC. A silver phiale mesompholos with intersecting bulbous petals to the base, flaring rim and to the centre a central boss decorated with rosette and framed by lines. Accompanied by an Art Loss Register certificate. 157 grams, 12.5cm (5"). Private collection, London, UK; formed 1970s-1980s. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. Elam was an ancient pre-Iranian civilization with its capital at Susa. Its culture played a crucial role during the Persian Achaemenid dynasty that succeeded Elam, when the Elamite language remained among those in official use. Elamite is generally accepted to be a language isolate and thus unrelated to the much later arriving Persian and Iranic languages. The neo-Elamite period is distinguished by the migration of Indo-European speaking Iranian peoples into the area, known as Medes from ancient sources. Among these pressuring tribes were the Parsu, first recorded in 844 BC as living on the southeastern shore of Lake Urmiah, but who by the end of this period would cause the Elamites' original home, the Iranian Plateau, to be renamed Persia proper. Phiale Mesamphalos were the most popular form of drinking vessels and were produced in a number of materials, from clay through to silver and gold. They were used in banquets held by the nobility, but were also used to pour libations at religious festivals. They were a common gift from the king to the nobility which helped cement alliances among the different tribes of the Empire. They were also used as diplomatic gifts to visiting dignitaries and they were extremely popular in the kingdom of Macedonia where they were used for purely religious purposes. . Very fine condition.
Lot 662
Ptolemaic Period, 305-30 BC. A carved rock crystal miniature alabastron with waisted neck and lateral pierced lug handles. 21 grams, 62mm (2 1/2"). Property of a London gentleman; acquired before 1970. With the expulsion of the Persians from Egypt by Alexander the Great and the establishment of the Greek Ptolemaic dynasty of rulers, new art styles developed that reflected the mingling of Egyptian and Classical culture. This was done as a conscious effort by the Ptolemies to unite the Greek and native populations and was expressed through the arts, architecture and religion. Rock crystal had been used for vessels in Greece since the Archaic period, and the manufacture of them reached its peak during the Hellenistic period at such cosmopolitan urban centres as Alexandria in Egypt and Antioch, capital of the Seleucid Empire, now in modern Turkey. The Egyptians were noted for their meticulous personal hygiene and cosmetic boxes and bottles are some of the most common grave goods, and which show signs of use during the owners life. during much of the year the climate was hot and arid, and salves and oils were needed to keep the skin from drying and cracking. a wide variety of unguents, made from oils and fats scented with myrrh and frankincense from Africa, resins, or fragrant flowers, were rubbed on the body as part of the daily toilette. . Extremely fine condition.
Lot 434
6th-8th century AD. A matched pair of gold earrings, each a hook and loop with teardrop amethyst to the underside, chevron rod with hooked ends engaging looped ends of a crescentic dangle with row of pearls to the outer edge, independently suspended pearl and amethyst to the centre. 14 grams total, 58mm (2 1/4"). From an important collection of Christian artefacts, formed in London in the 1980s. Supplied with a positive X-Ray Fluorescence metal analysis certificate. Byzantine jewellery was a full continuation of the Roman traditions which were kept alive at the new capital, Constantinople, as well as other centres of artistic tradition, such as Antioch. In the Byzantine Empire jewellery played an important role. It acted as a way to express one's status and as a diplomatic tool. In 529 AD Emperor Justinian took up laws regulating the wearing and usage of jewellery in a new set of laws, later to be called the Justinian Code. He explicitly writes that sapphires, emeralds and pearls are reserved for the emperor's use but every free man is entitled to wear a gold ring. Pearls were prized in the previous Hellenistic and Roman periods, but seem even more so in the Byzantine empire The mosaics of San Vitale at Ravenna, Italy, depict Justinian and his wife, the empress Theodora, sumptuously bedecked in pearl encrusted diadems, necklaces and brooches. [2]. Very fine condition.
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