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Lot 5306
Ecclesiastical Fittings - a Gothic Revival offertory box, the panelled door with polychrome armorial and motto Qualis Vita Finis Ita, 23cm wide, early 20th century; an oak panel, carved raised inscription Mysteries are Revealed Unto the Meek, 50cm wide, c.1880; a key rack; a textile banner, They Will Rise on Wings Like Eagles (4)
Lot 1026
Desseine, François: Beschryving van Oud en Niew Rome. Amsterdam: F. Halma 1704. 3 Tle. und Supplementband: Kennet, Basil: De Aaloudheden van Rome, of Beschryving van de Geleerdheyd en Opvoeding der Romeynen ... In't Engelsch beschreeven ... en daaruyt vertaald door W. Séwel. Ebda 1704. Zusammen 4 Bde. in 2. 52,7 x 31 cm. Mit 4 gest. Frontispizen, 4 gest. Titelvignetten, 4 gest. Kopfvignetten, 3 gest. Initialen, 4 gest. Faltktn., 2 gest. Faltplänen, 114 Kupfertafeln (davon 41 doppelblattgr.) und 42 Textkupfern. Ldr. mit goldgepr. Rt., reicher Rv., die Deckel mit zweifachem Rahmen aus Goldbordüren, Eckstücken und gr. ornamentalem Mittelstück, Stehkantenvergoldung.(Einbände stärker berieben und mit Oberflächendefekten, Rücken restauriert. Ein Bl. im Vorwort des ersten Teils fast lose. Die letzen Bll. im ersten Band mit Tintenflecken im Buchschnitt und im w. Rand.)Rosetti G-1037 u. G-1038 (Kennet); Schudt 555; Millard Coll. III, 24. - Holländische Übersetzung der erstmals 1690 erschienenen "Description de la ville de Rome" mit dem Beitrag Kennets, der dem ersten Teil von Desseines Beschreibung beigefügt ist. - In den Bibliographien finden sich teilweise unterschiedliche Zählungen der Tafeln, je nachdem, ob zwei nebeneinandergedruckte Abbildungen auf einer Tafel als ein oder zwei Kupfer gezählt werden. - Unter den prachtvollen Kupfern u. a. auch zwei große Pläne des antiken Roms sowie einer Italienkarte nach Jacob Cantelli da Vignola.
Lot 1135
Oort, Eduard Daniel van: Ornithologia Neerlandica. De vogels van Nederland (Bd. 5 : Voltooid door G. A. Brouwer). 5 Bde. Den Haag: M. Nijhoff 1922-35. 36 x 26,5 cm. Mit 407 Farbtafeln (87; 84; 79; 77; 80). OrHLdr. mit Rt und Rv.(Einbände am Rücken leicht verblasst. Bd. 5 mit hinterlegtem Riss am Schwanz. Taf. 189A in Bd. 2 statt Bd. 3 gebunden).Nissen IVB 694; Anker 381. - Die Tafeln wurden von Emrik & Binger in Haarlem nach Zeichnungen von M. A. Koekkoek gedruckt. Auf jeder Tafel sind die jeweiligen Vogelarten in beiden Geschlechtern, verschiedenen Altern und ggf. saisonalen Varianten dargestellt. Insgesamt werden in dem Werk 362 Arten beschrieben. Nach Oorts Tod vervollständigte Brouwer den Text in Bd 5.
Lot 122
William Orpen, RA, RI, RHA (1878-1931) "Portrait of the Artist's Wife, Grace Knewstub,1912," O.O.C., 58 x 36cms (23" x 14"). Signed and dated 'Orpen Dublin 1912' Depicting the head and shoulders of a young woman?almost certainly the artist's wife Grace Knewstub this portrait by William Orpen, painted in Dublin in 1912, dates from a time when significant events were taking place in their lives together. While the head is well-finished, Orpen blocked out the area of the dress with broad brushstrokes of brown and black, evidently with the intention of finishing the portrait at a later date. However Grace?s eyes are downcast, and she appears to have been a reluctant sitter. Her hair is not combed, nor is she wearing the fashionable clothes and jewellery that adorned so many of Orpen's sitters. Nonetheless, the portrait shows the artist's brilliance in capturing not only a likeness, but also a sense of life, a gift he shared with his contemporary Augustus John. This is no formulaic society portrait; Grace is instantly recognisable as an individual, with a strong personality. That the painting remained unfinished is no surprise. That same year Orpen painted one of his finest society portraits, that of his long-term lover, the wealthy American Mrs. Evelyn St. George. In January of that year St. George had given birth to their child, Vivien. This would have caused scandal in the middle-class Dublin milieu in which Orpen had grown up, and immense upset to his wife Grace, with whom he had two children. The ramifications would have spread to England, where Grace?s sister was married to the artist William Rothenstein. Also dating from 1912 are Orpen's Portrait of Gardenia with a Riding Whip, depicting the teenage daughter of Evelyn St. George, and several portraits of another American, Vera Brewster, who had married the Irish writer Joseph Hone and lived next door to the Orpens. The artist was clearly fascinated by Vera, who sat for him on several occasions that year: in The Angler, she holds a fishing rod, while in The Blue Hat, she is wearing fashionable headgear. In 1912 also, his portrait of Vera, The Chinese Shawl, was exhibited at the New English Art Club and later purchased by the National Gallery of Victoria in Melbourne. Other portraits from that summer include Portrait of Kit, his daughter, a cheerful young girl sitting with her arms folded and wearing a white knitted hat and scarf. Nevertheless, amidst all these coquettish poses, arch expressions and fashionable accessories, the portrait of his wife Grace stands out for its down-to-earth directness and honesty. Born in Stillorgan, Co. Dublin, William Orpen was the son of a solicitor, while his mother Anne was the eldest daughter of the Rev. Charles Caulfeild, Bishop of Nassau. After attending the Metropolitan School of Art, he went on to the Slade School of Art in London, winning the composition prize of 1899 with The Play Scene from Hamlet (Houghton Hall, Norfolk). From the outset, Orpen eschewed experimentation and flirtations with Modernism. He revered seventeenth-century painters such as Rembrandt, Velasquez and Chardin, and sought to emulate their Realist style. In terms of his own peers, he admired the work of Augustus John, and joined the New English Art Club. His Homage to Manet depicts members of the NEAC, sitting below Manet?s portrait of Eva Gonzalès. In 1902, in cooperation with John, he opened an art school in Chelsea and also began to teach at the Metropolitan School in Dublin, a position he held until 1914. He was a friend of the collector Hugh Lane, with whom he travelled to Paris and Madrid in 1905. Three years later he began to exhibit regularly at the Royal Academy in London. Elected a member of the Royal Hibernian Academy, he rapidly became one of the most successful portrait painters in London and Dublin, being overwhelmed with commissions. Many of Orpen's portraits are painted in his characteristic bravura style, and yet he seems to have grown to dislike the elite social circles in which he moved. On the outbreak of World War I, he was appointed an Official War Artist and was given the rank of Major in the British Army. Some of his best paintings were done as a war artist, and his images of the Somme, of injured soldiers and ruined cities, remain today amongst the most powerful works of art depicting that conflict, while his portraits of key negotiators at the Treaty of Versailles are a valuable record, reflecting also his privately-held views on the politics of the time. After the war ended in 1918, Open resumed his successful portrait practice. Although he did not return to Ireland after 1915, his artistic legacy at the Metropolitan School of Art continued for many years. Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin. Dr. Peter Murray, 2022
Lot 222
HANKINSON (REV. FREDERICK), PRISON & PRISONERSCollection of material relating to the Reverend Frederick Hankinson (1875-1960), Unitarian minister, suffragist and prison visitor, comprising:i) Autograph album with ownership inscription 'In happy remembrance of Prison visitations to some suffragette Prisoners who gave this album to me – Frederick Hankinson, 1912', containing signatures from nearly thirty suffragette prisoners held in H.M. Prison Holloway, the entries also detailing the place and length of incarceration, including Edmée Manning, Emmeline Pethick Lawrence, Frederick Pethick Lawrence (Brixton Gaol), Alice J. Stewart Ker ('I was in prison and thou visitedst me'), Mary Hilliard, Nelly Crocker, Alice Davies, Maud Nicholls ('Two months hard labour'), Kathleen Nicholson ('March on, march on!/ Face to the dawn/ The dawn of liberty!'), and others, red calf, worn, 4to (130 x 163mm.), 1908 to 1913; together with a typed carbon copy and Hankinson's autograph list of all suffragette prisoners visited by him between 1907 and 1913 ii) Ten visit request forms addressed to Rev. Hankinson, from the Governor of Holloway Prison, and one from the Governor of Maidstone ('...The above named Suffragist prisoner has expressed a desire to see you in your ministerial capacity...'), 1906-1913; other correspondence from the authorities regarding the release of prisoners including Elsie Howey who was refused visits due to misbehaviour, with article from The Suffragette on the matter, 17 January 1913; carbon copy of a report on prisoner Marie Neill ('...has refused to take her food in the ordinary way... but she takes it from a feeding cup...'), February 1913iii) Autograph letters of thanks from grateful suffragists, including Emmeline and Frederick Pethick Lawrence (two autograph, one typed '...It is simply splendid the way in which the spirit of women is breaking down the coercive policy of the Government...'); Maude Fitzherbert awaiting trial in Edinburgh ('...I will not fear what men can do unto me...'); Edmée Manning ('...your never-to-be-forgotten kindness... I hoped to have the pleasure of introducing you to my fellow criminals who are all very anxious to meet you...'); and Marie Neill ('...Those brutes seemed less brutal or their treatment tormented me less... never mind Mr H is coming today...'); with Hankinson's autograph notes on suffrage, beginning by listing women who were suffragists 'without knowing it' ('Mrs Gaskell/ Florence Nightingale/Harriet Martineau'), with other notes on how he became involved in the movement, 3 pages on lined paper, 4to, [dated in pencil 11/1935], c.30 pages, folio and smaller, 1912-1913iv) Group of papers with regards to accusations of misconduct, alleging Hankinson conducted a conversation with prisoners Violet Bland and Charlotte Marsh in whispers '...so it was impossible to hear whether any information was given to the prisoner or not...', his dismissal and the appointment of Rev. Henry Gow in his place, including official letters from the Prison Commission, Hankinson's notes and draft replies, c.50 pages, folio (326 x 216mm.) and smaller, 1912-1914 v) Printed matter including; handbill Abstract of the Regulations relating to the Treatment and Conduct of Convicted Prisoners; handbill To stop the torture of Forcible Feeding and to Repeal the 'Cat and Mouse Act'; and booklet Roll of Honour/ Suffragette Prisoners 1905-1914, presentation copy inscribed 'To Hankinson from Lady Pethick-Lawrence' in green ink on upper coverFootnotes:'I WAS IN PRISON AND THOU VISITEDST ME': THE PAPERS OF REV. FREDERICK HANKINSON.Reverend Hankinson came from a family dedicated to Unitarianism and belief in the equality of men and women, so was naturally drawn to the suffrage movement. He was a friend of Frederick Pethick Lawrence and his wife and joined the Men's League for Women's Suffrage in 1907, becoming a prison visitor in his capacity as a Unitarian minister in 1908. He visited suffragettes incarcerated in Holloway, Brixton and Aylesbury, reading them letters from home and bringing comfort from the outside world, as our letters of appreciation attest. Amongst those he visited were Edmée Manning, Emmeline Pethick Lawrence, Muriel Matters and Katherine Gatty but, although she requested to see him (at the request of Emmeline Pankhurst), a visit to the first hunger striker Marion Wallace-Dunlop was not to be (see a group of her letters in this collection below). In a letter now held in the Fawcett Library, Dr Alice Ker wrote to her daughter: '...[he] sees Unitarians... Theosophists and all the queer sects. As he is our spiritual advisor, the wardress sits outside the glass door during his visit. He is the brickiest of brick of anybody yet – gives any amount of time and trouble to us...' (Crawford, E., The Women's Suffrage Movement, A Reference Guide 1866-1928, 1999, p.268).A portion of these papers are concerned with his dispute with the Prison Commission, who removed him from his duties after accusations that he had broken prison regulations by whispering to two prisoners, Violet Bland and Charlotte Marsh. He strenuously denied he was passing on political information but, nonetheless, a Mr Gow was appointed in his place, and Hankinson never returned. As a memento of his visits he retained a list of all prisoners visited by him between 1907 and 1913 and the present autograph album. Hankinson joined the United Suffragists in 1914 and during the First World War worked in Hungary for the Society of Friends. In the 1920's he returned to Hungary as a delegate of the American Unitarian Women's League and was an active committee member until his death in 1960.These papers were bequeathed to Reginald Couzens, the grandfather of the present owners whom he had met through the Unitarian church.Provenance: The Rev. Frederick Hankinson (1875-1960); Reginald Andrew Couzens (b.1904); thence by descent to the present owner.For further information on this lot please visit Bonhams.com
Lot 208
DEPUTATION TO THE HOUSE OF COMMONS, 1909Votes for Women. Souvenir & Official Programme. the text continuing 'A Deputation of Women will go the House of Commons on Tuesday, June 29, ...to see/ The Prime Minister/ to lay before him their demand for the vote...', with an explanation beneath '...Miss Wallace Dunlop's inscription which she stamped on the wall in St. Stephen's Hall on Tuesday took two men over two hours to erase the violet inkstains with pumice-stone, soap and water...', the text surrounded by twenty engraved portraits of the main protagonists including the Pankhursts, Emmeline Pethick Lawrence, Flora Drummond, Mary Gawthorne etc. and a purple, white and green foliate border, one page, printed on crepe paper, some staining and small tears and holes, framed, image 345 x 345mm., with frame 575 x 560mm., unexamined out of frame, printed by Burgess, York Place, Buckingham Street, W.C., [1909]Footnotes:On 22 June, as celebrated on this souvenir and invitation, the artist Marion Wallace-Dunlop was arrested and charged with wilful damage for stamping an extract from the Bill of Rights on the wall of St Stephen's Hall. According to this 'official' souvenir it took 'two men over two hours to erase the violet ink stains with pumice-stone, soap and water'. Whilst in prison she instigated the first hunger strike. A week later on the 29th, a deputation set out from Caxton Hall to confront Asquith at the House of Commons. On being rebuffed by Asquith's private secretary at the door, Emmeline Pankhurst struck the unfortunate policeman, whilst another knocked off his hat. This resulted in a prolonged melee in which 3,000 police were engaged and some 108 women were arrested. Towards the end of the demonstration, a small group partook in breaking the windows of the Privy Council, Treasury and Home Office, using small stones wrapped in paper and hung on strings so as not to injure the people inside (Andrew Rosen, Rise Up, Women!, 1974, p.118-119).For further information on this lot please visit Bonhams.com
Lot 21
JOSEF HOFFMANN (Brtnice, Czech Republic, 1870 - Vienna, 1956).Jugendstil side cabinet, ca. 1900.Mahogany wood.Measurements: 113 x 31 x 26 cm.An auxiliary piece of furniture in the Jugendstil style, Central European modernism, made of mahogany wood and characterised by the clean lines and the play of geometric volumes typical of Jugendstil, which is combined with a vertical structure, based on closed and open spaces, which is common to the whole of Europe at this time. The base appears open, raised on two stipe legs with horizontal carved grooves, with a closed moulded base, like a plinth, and a shelf at mid-height. The central area is occupied by a closed cupboard with a translucent dark glass door, moulded with an irregular organic-looking irregular finish. Finally, above the cupboard is an open shelf with a barred base and truncated pyramid-shaped finials to match the legs.An architect and industrial designer, Josef Hoffmann studied at the Academy of Applied Arts in Vienna, where he was a pupil of Carl Freiherr von Hasenauer and Otto Wagner, whose theories of functional, modern architecture would profoundly influence his work. He won the Prix de Rome in 1895, and the following year he joined Wagner's office, collaborating with Olbrich on some projects for the Metropolitan. He established his own office in 1898, and taught at the School of Decorative Arts in Vienna between 1899 and 1936. He was also a founding member of the Viennese Secession. In 1900 he travelled to London, where he came into contact with the English school and discovered Mackintosh. On his return, he set up a workshop for the production of objects based on designs by artists of the Secession, and thus the Wiener Werkstätte was born, a workshop which had a great influence on 20th-century industrial design. By 1903, production began on an international scale. In the course of his life, Hoffmann produced a variety of projects for buildings and furnishings, and exhibited his creations all over the world. He is currently represented in the MAK and the Leopold Museum in Vienna, the Metropolitan and MoMA in New York, the Brohan in Berlin, the Courtauld Institute in London and the Victoria & Albert in London, among many others.
Lot 131
SENDAK (MAURICE)'The Rain', original illustration, ink and watercolour on paper, the verso with pale printed outline of the baby from 'In the Night Kitchen', signed and dated ('M. Sendak July '73'), 225 x 245mm.Footnotes:A study for the 1975 CBS television programme Maurice Sendak's Really Rosie (with music by Carole King), featuring Rosie a.k.a. Alinda from The Sign on Rosie's Door (1960) and the other children and young alligator from the Nutshell Library (1962). In this scene, Rosie asks 'Did you hear what happened to Chicken Soup?', the heavens open with a clap of thunder, and she performs 'The Ballad of Chicken Soup'.Provenance: Property from a London private collection.For further information on this lot please visit Bonhams.com
Lot 272
George III snuff box of concave sided rectangular form, the lid embossed in Dutch style with figures conversing by an ale house door, the underside foliate engraved, the sides with punched diamond and crescent frieze, 7cm x 4cm x 2cm, London 1813, possibly by John Brough or John Booth, 61gms
Lot 266
An early 19th century oak and mahogany cross-banded tavern-type clock, by 'W.E.Evans, Welshpool Quay', with a painted dial, approximately 14.8", above a trunk door, flanked on each side by a fluted, quarter pilaster, over an ogee shaped base, the 8-day movement with 4 pillars and anchor escapement, striking on a bell, 142cm long, with winder, pendulum and two weights (5)Condition report: Restored in 2013 (receipt included). Lacking 13.5cm section of chequered stringing on right return on base. Old, minor chips, dents and scratches consistent with age and use. Inevitable restoration on some veneers, including door. Later lock.
Lot 267
A George III ebonised brass mounted bracket clockThe dial and movement signed William Thomas Hay, Shrewsbury, the rectangular case with moulded swept caddy top with ball finial and four conforming finials to the corners, the front with foliate pierced sound grills to either side of the arched door, the sides with similar pierced grills below brass carrying handles, the arched brass dial with Slow/Fast subsidiary dial, all set within foliate scrolling spandrels, the brass four pillar twin fusee movement with engraved backplate striking on two bells, with brass bob pendulum, 52.5cm high.Condition report: Generally good overall with some marks, scratches and wear to the case, especially localised on the front left side where it has been opened for winding and setting. The silk inserts behind the fretwork soundboards may have been replaced. One retaining bolt has been replaced on the right side. No evidence of worm. Movement winds, runs and strikes - not tested for timekeeping or longevity.
Lot 2
A 2006 Ford Focus ST-2 Sports 5-door Hatchback, registration WU56 OYJ, 2500cc in line five cylinder, c/w Ford Approved Mountune upgrade to 260bhp, ASBO orange with black roof, 133,000 recorded miles with full MOT (current to expire 6th January 2023) and service history to verify, lady owner, 6 former keepers stated on V5 with last transfer in January 2011. All enquiries for this modern classic collector's Fast Ford & further entries - Contact Colin Young MRICS on 07976 977169.
Lot 381
Bachmann Branchline OO gauge rolling stock, 37527 20 tonne brake van, fitted, LNER oxide, 37980, Conflat Baulkside, 37527 20 tonne brake van, fitted, LNER oxide, 37125 eight plank end door wagon, The Boston Deep Sea Fishing and Ice Company, 382171A, press flow 22 tonne cement wagon from The Cement Marketing Company. (9)
Lot 779
Bachmann Branchline OO gauge rolling stock, including 37-2010K seven plank end door wagon, R Y Pickering and Co exclusive to Bachmann Collector's Club, 37-650K 14 tonne tank wagon Charles Roberts Bachmann Collector's Club exclusive model, 33-327A con flat with two containers, blue, 37-150K 8 plank fixed end wagon, Metropolitan RC and W Co, etc., boxed. (7)
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