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Click here to subscribeWILDE (OSCAR)A Woman of No Importance, FIRST EDITION, [LIMITED TO 500 COPIES], a few light spots to opening leaves, publisher's decorative lilac cloth gilt designed by Charles Shannon, slight fading [Mason 364], 4to, John Lane, 1894This 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
CHURCHILL (WINSTON)The Second World War, 6 vol., third edition of volume 1, others FIRST EDITIONS, AUTHOR'S PRESENTATION COPIES TO LORD MOYNIHAN, INSCRIBED IN EACH VOLUME, 'To Lord Moynihan from Winston S. Churchill 1955' in volume 1, 'From Winston Churchill' in other volumes with date 1955 in volume 3, TYPED LETTER SIGNED BY CHURCHILL GIFTING THE SET tipped on front free endpaper of volume 1, full red morocco gilt by Bumpus of Oxford, g.e., a few dot abrasions on sides of volume 3, 8vo, Cassell, 1950-1954Footnotes:FINE SET INSCRIBED IN EACH VOLUME BY WINSTON CHURCHILL TO LORD MOYNIHAN AS A THANK YOU FOR HIS PART IN CHURCHILL'S EIGHTIETH BIRTHDAY CELEBRATIONS. In his letter to the recipient, dated 20 June 1955, Churchill writes 'I send you herewith a set of my war memoirs which I have had bound... This is a very small token of my gratitude for all the kindness and service you have rendered to me in my old age'.Lord Moynihan was the honorary treasurer of the Winston Churchill Eightieth Birthday Presentation Fund, which raised money from subscriptions and donations made from around the globe, honouring his important role as wartime leader. During a ceremony at Downing Street on 30 November 1954 Moynihan handed over a cheque for £150,000 (an interim payment) stating that the contributors were 'anxious that you should spend it in whatever way you... may choose'. He created a Trust, using the money to make an endowment to his home at Chartwell, and other charitable purposes.In 1953, the year prior to the publication of the sixth volume of The Second World War, Churchill was awarded the Nobel Prize for Literature in 'for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values'.Provenance: Patrick Moynihan, 2nd Baron Moynihan (1906-1965); by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
BORGES (JORGE LUIS)Autograph manuscript of his short story 'Funes el memorioso', signed ('Jorge Luis Borges') at the end, headed 'Para la Nación' above the title, with the author's ink deletions, corrections and insertions on each page, 4pp., recto only, written in Borges's minute hand in brown and black ink, horizontal creases where previously folded, folio, [c.1942]Footnotes:MEMORY, INSOMNIA, NEUROSCIENCE AND AUTISM: AUTOGRAPH MANUSCRIPT OF 'FUNES THE MEMORIOUS' - ONE OF BORGES'S MOST ENIGMATIC AND WRITTEN ABOUT SHORT STORIES.'Funes el memorioso' was first published on page 3 of the Arts and Letters section of La Nación on 7 June 1942, with an illustration by Alejandro Sirio, and two years later it was included in the second part ('Artfices') of his acclaimed second volume of short stories, Ficciones. Set in 1884, it tells the story of Ireneo Funes, a teenager living in the Uruguyan town of Fray Bentos (where it is thought that Borges was fathered). Fol1owing a head injury suffered falling from a horse, Funes develops an extraordinary capacity for remembering everything possible. Academics, philosophers and scientists are still searching for interpretations of this complex story.We have not traced any other manuscripts of 'Funes', nor are any included in Daniel Balderston's census at the end of How Borges Wrote (University of Virginia Press, 2008). Comparing the text of this draft with the one printed in La Nación has not been possible, but there are divergences from the version published in Ficciones: for example, in the first paragraph of our manuscript the phrase 'género obligatorio en el Uruguay, cuando el tema es un uruguayo' has been deleted but does appear later in print; and in the penultimate paragraph of the manuscript 'Repito que el menos importante de sus recuerdos era más minucioso y más vivo que nuestra percepción de las imágines en un calidoscopio' becomes '...de nuestra percepción de un goce físico o de un tormento físico' in print. There are also some minor corrections and numerous paragraph break changes.Provenance: Lame Duck Books, purchased 2006; private collection.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
JACKSON (KEITH ALEXANDER)Views in Affghaunistaun... from Sketches Taken During the Campaign of the Army of the Indus, FIRST EDITION, hand-coloured lithographed frontispiece portrait, lithographed pictorial title, dedication and 22 tinted lithographed plates (of 25) by W. L. Walton, T. Allom and others, one map, some spotting, contents loose, publisher's morocco-backed cloth, gilt lettered on upper cover, spine with some loss, worn [Abbey, Travel 506], folio (380 x 280mm.), W.H. Allen, [1841]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
ROWLING (J.K.)Harry Potter and the Philosopher's Stone, UNCORRECTED PROOF COPY OF THE FIRST EDITION, INSCRIBED AND SIGNED BY THE AUTHOR 'to Catriona long time since I have seen one of these!. J.K. Rowling' on the dedication leaf, with numbers 10 through to 1, and 'Joanne Rowling' on the verso of the title-page, small blue ink stain to upper margin of text block on pp.145-173, publisher's white printed wrappers with a yellow band around the middle, and lettered in black (short tear at lower upper joint, a couple of light indentations to upper cover, light handling marks) [Errington AA1(a)], 8vo, Bloomsbury, [1997]Footnotes:VERY RARE SIGNED COPY OF THE VERY FIRST APPEARANCE IN PRINT OF HARRY POTTER, for which an 'unconfirmed print-run of 200 copies is generally accepted... This is also the figure noted by Bloomsbury' (Errington). We have been unable to trace any other signed and inscribed copies of this book.The elegant inscription reflects the fact that Rowling and the recipient had known each other from almost the beginning of the Harry Potter journey. Catriona was the children's book buyer for a famous book shop in Edinburgh, advocating the merits of Rowling's first book from the moment she read this copy of the uncorrected proof copy of Harry Potter and the Philosopher's Stone in 1997 when she was given it by the publisher's agent.She later met Rowling on several occasions when she visited the shop, first to write in the shop's café, later to sign books or attend events that Catriona helped organise. This copy was actually signed in 1999, at the same time Rowling signed Catriona's copy of Harry Potter and the Prisoner of Azkaban (see lot 127). The inscription captures the extraordinary changes in the author's literary journey, from the moment the proof of this, her first book, appeared in 1997 to her burgeoning success with publication in 1999 of Azkaban, from which moment 'Harry Potter' truly became the global phenomenon he has been ever since.Provenance: Catriona, the vendor, who from 1995-2000 was the children's book buyer at a famous large Edinburgh book shop. This copy was personally inscribed by Rowling during a visit to the shop in 1999, at the same time that she signed a proof copy of The Prisoner of Azkaban (see lot 126).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
FLEMING (IAN)Diamonds Are Forever, jacket slightly frayed at spine ends and corners, 1956; From Russia With Love, minor toning to endpapers, a few white specks on upper cover, jacket soiled, frayed at extremities, [1957]; Dr. No, cloth with silhouette on upper cover, a few light spots on lower cover of jacket, [1958]; Goldfinger, jacket very slightly frayed at spine ends, fore-edge margin of upper flap creased, [1959]; Thunderball, small tears at spine ends and corners of jacket, [1961]; The Spy Who Loved Me, [1962]; On Her Majesty's Secret Service, [1963], FIRST EDITIONS, publisher's cloth, dust-jackets (unclipped), 8vo, Jonathan Cape (7)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
ROWLING (J.K.)The Prisoner of Azkaban, FIRST EDITION, SIGNED BY THE AUTHOR on the dedication page, with the sequence of numbers 10 through to 1 on the verso of the title-page, publisher's pictorial boards, dust-jacket [Errington A7(a)], 8vo, Bloomsbury, [1999]Footnotes:Provenance: Signed for the vendor, who from 1995-2000 was the children's book buyer at a famous large Edinburgh book shop. See lot 122 for further details.Saleroom notices:Should read Errington A7(aa) - this is second state of the first editionThis 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
SUFFRAGETTE 'VOTES FOR WOMEN' SASHOriginal 'Votes for Women' tri-coloured suffragette sash, woven in purple, green and white with 'Votes for Women' printed in blue on central stripe on front and reverse, hook for banner pouch and hook and eye fastening stamped 'Nicklin's', colours strong, a few brown marks and smudging to white areas, 104mm. wide, overall length c.1150mm., folded, c.1908; with 'Votes for Women' celluloid pin badge attached, printed in black on white background, discoloured, foxed, c.1906Footnotes:Emmeline Pethick Lawrence introduced purple (for dignity), white (for purity) and green (for hope) as the colours for the Women's Social and Political Union at the Hyde Park Rally of 21 June 1908, the sashes designed by Sylvia Pankhurst clearly visible against the suffragettes' white dresses. The sashes were originally woven by Toye & Co. of Birmingham, who had a large female workforce, and became an essential part of the suffragette uniform. Suffragette accoutrements were retailed through a network of independent shops and department stores such as Selfridges which opened its doors in the same year. The badge is an early example of the many designs issued by the WSPU and dates from around 1906.Provenance: Given by an unidentified suffragette friend to Minnie Elizabeth Marsh (1899-1986, teacher and headmistress) of Birmingham; thence by descent. Minnie became involved in the suffrage movement around the end of World War I and was a key figure in the first women-only teaching union, where she fought for equal pay for women teachers. She was also involved in the Independent Labour Party and the White Poppies for Peace movement.For further information on this lot please visit Bonhams.com
WILDE (OSCAR)A Woman of No Importance, FIRST EDITION, [LIMITED TO 500 COPIES], AUTHOR'S PRESENTATION COPY INSCRIBED AND SIGNED 'To Rose Le Clercq, as a slight recognition of her brilliant performance in my play. Oscar Wilde' on the front free endpaper, publisher's decorative lilac cloth gilt designed by Charles Shannon, soiled, hinges, joints and spine ends restored, preserved in fleece-lined morocco-backed solander box [Mason 364], 4to, John Lane, 1894Footnotes:PRESENTATION COPY INSCRIBED BY WILDE TO ROSE LECLERCQ, THE FIRST ACTRESS TO PLAY LADY BRACKNELL AND LADY HUNSTANTON.Rose Leclercq (1845-1899), born coincidentally in Wilde Street, Liverpool, had a hugely successful acting career, most famously creating the role of Lady Bracknell in the first performance of The Importance of Being Earnest, 'so cast because of her experience playing similar parts. Like Beerbohm Tree's performance of Lord Illingworth, Leclercq's casting ensured instant audience recognition of Lady Bracknell's character' (Heather Marcovitch, The Art of Pose. Oscar Wilde's Performance Theory, 2010). She had previously performed the role of Lady Hunstanton, alongside Beerbohm Tree, for the first performance (19 April 1893) of A Woman of No Importance - referenced by Wilde in his warm inscription as 'a brilliant performance'.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
ROYALTY – EDWARD, DUKE OF WINDSORCorrected typescript draft of a long article titled 'The Story of the Education of a Prince by Edward The Duke of Windsor', published as The Education of a Prince in LIFE magazine, December 1947, a working proof heavily amended and with additions and corrections by the Duke of Windsor throughout in red pen, other amendments in pencil by the editor, additional passages typed on separate sheets and tipped in, some pages duplicated, some crossed through with red pen, comprising some 157 ruled yellow carbon paper pages and 18 mimeographed pages, the story written in three parts (Part I 'A Royal Boyhood', from birth to the accession of his father to the throne, Part II 'I, Edward Prince of Wales', from the coronation of George V to the outbreak of war, and Part III 'A Prince at War', on his wartime service and the immediate aftermath), c.175 pages, sections numbered 'Windsor I', 'Windsor II', 'Windsor III' etc., filing hole top left of each page, general dust-staining, marks and discolouration, contemporary red morocco, gilt coronet on upper cover, gilt title on spine within raised bands, gilt dentelles, marbled endpapers, 4to (280 x 235mm.), [n.d. but c.1947]; in a custom-made solander boxFootnotes:'THE POSITION TO WHICH I WAS BORN': EDWARD, DUKE OF WINDSOR WRITES CANDIDLY ON HIS CHILDHOOD & EARLY YEARS FOR AN AMERICAN MAGAZINE.The present typescript had its origins two years earlier when '...Reading LIFE in 1945 in the Bahamas, the Duke of Windsor was impressed by the understanding of Britain shown in a series about his old friend, Winston Churchill. The Duke had a mutual friend call up Charles J. V. Murphy, now a LIFE staff writer, a big, ducal-looking Bostonian who had written the article (with John Davenport). The friend's suggestion: the Duke of Windsor and Reporter Murphy ought to know each other because 'the Duke is thinking of doing some writing himself.' The result of the delayed meeting (Murphy first spent six months in the Pacific as a war correspondent) was a three-part story, written by the Duke and edited by Murphy, on 'The Education of a Prince.' It was published in LIFE in December 1947...' (Time website, 'The Press: Edward & Wallis', 22 May 1950). The sequel, A King's Story, another collaboration with Murphy, took up the story and was published in book form in 1951. As can be seen from our manuscript, Edward went through the proof with a keen eye, making extensive amendments, correcting facts and deleting certain passages. These deleted extracts, struck through firmly with red pen, show hitherto unseen material that was left out of the published version. A constant theme throughout is the overwhelming sense of duty and responsibility of his position and his frustration at the restrictions this brought, despite a life of privilege: '...the concept of duty was drilled into me and I never had the same sense that the days belonged to me alone... My father literally pounded good manners into us...'. The final words of the piece, written in exile after his abdication, are telling: '...I did not spare myself in striving to fulfil all that was expected of me in the position to which I was born...'.Part I begins with his birth and early childhood, with hazy memories of the elderly Queen Victoria ('...She wore shiny black shoes with elastic sides...') and gives an insight into an idyllic childhood at York Cottage on the Sandringham estate ('...an elegant, undoubtedly paternalistic, and self-contained existence...', the Christmas festivities '...Dickens in a Cartier setting...'). As he grows older, the realisation he is now in the public eye becomes more apparent ('...the most significant change has been the disappearance of privacy... I grew up before the age of photography. We were seldom recognised on the street, and when we were the salutation would be a friendly wave of the hand or, in the case of a courtier or a family friend, a polite lifting of the hat...'). Part II, entitled 'I Edward Prince of Wales' opens with his sorrow at the death of his grandfather Edward VII, a kindred spirit ('...the last Englishman to have an uninterruptedly good time...'), and the coronation of George V which he identifies as a turning point ('...I arrived at the end of my boyhood... Henceforth the demands of my inheritance would press upon me ever more fiercely...'). The final part, 'A Prince at War', covers the war years, with much on his frustration at not being allowed to fulfil his potential as a soldier ('...I was to discover that my trophy value exceeded my military usefulness...'). After the war he devoted himself to what he and his brothers described as 'Princing'. A tour of the country after the war opened his eyes to the poverty and discontent among the people after years of conflict. Despite that, in a letter to George V, he assures him, perhaps ironically in light of future events, that the monarchy is still strong: '...there seems to be a regular epidemic of revolutions and abdications throughout the enemy countries... of those that remain I have no hesitation in saying that ours is by far the most solid...'. Provenance: The Duke (1894-1972) and Duchess (1896-1986) of Windsor; presented by Maître Suzanne Blum, the Duchess of Windsor's French lawyer and executrix, to the present owner who had provided important assistance in the administration of the Duchess's estate.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
WILDE (OSCAR)Lady Windermere's Fan. A Play About a Good Woman, FIRST EDITION, [LIMITED TO 500 COPIES], 16-page publisher's catalogue at end (September 1893), front free endpaper loose, publisher's decorative cloth gilt designed by Charles Shannon, soiling, one light old tape mark on each cover, spine frayed at extremities touching gilt decoration, shelf label inside upper cover [Mason 357], small 4to, Elkin Matthews and John Lane, 1893Footnotes:Provenance: E. Hubert Litchfield; The Brother Julian F.S.C. Collection, New York, bookplates.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
BIBLE, IN LATINBiblia sacra, engraved pictorial title by Abraham de Bruyn after Crispin van den Broeck, 4pp. dedication to Cardinal Albert of Austria, with the blanks NN8 and K6, 3 double-page engraved maps (including World twin-hemisphere, second issue with the verso blank and the word 'gentes' added below 'IEKTAN' in the bottom left-hand panel; 'Terrae Israel'; Canaan), 2 double-page engraved plates, 4 full-page engraved plates on 2 sheets, illustrations in the text, lacks 2 preliminary leaves (**2 and **6, ?a blank), the title and 2 images (a2, one small hole) scuffed to obscure female genitalia, map of Holy Land lightly stained with small abrasion to surface, some marginal damp stains (mostly light, occasionally touching few lines of text at lower section), eighteenth-century half calf over paste-boards, worn [Adams B1089; Darlow & Moule 6173 (note); Shirley World 125; Voet 690 and p. 367], folio (436 x 280mm.), Antwerp, Christopher Plantin, 1583Footnotes:'One of the most impressive and beautiful editions of the Plantin press' (Voet). A reprint of the Bible of Louvain (1547) Plantin first issued his edition in 1565, again in 1574, before this edition of 1583, for which 36 illustrations were specially cut to enhance those taken from earlier publications. The twin hemisphere world map was originally issued in the eighth volume of the Polyglot Bible (1572). This copy includes the dedication to Cardinal Albert of Austria, which is sometimes missing because Antwerp was at that time under a Calvinist administration (perhaps explaining the partial erasures to female body parts on the title-page).Provenance: J. De Surhon, early ownership inscription in upper margin of title; Julien Nysssens Hart (1859-1910, Belgian engineer); and by descent to the present owner.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
LE FANU (JOSEPH SHERIDAN)The Watcher and Other Weird Stories, title printed in red and black, advertisements [Sadleir 1387; Wolff 4026], [1894]; The Evil Guest, advertisements [Sadleir 1374; Wolff 401], 1895, FIRST EDITIONS; A Chronicle of Friars and Other Stories, [Sadleir 1372a; Wolff 4009a], 1896; The Cock and the Anchor, [Sadleir 1373c; Wolff 4010b], 1895, first illustrated editions, illustrations by the author, publisher's cloth, the first 2 and last mentioned pictorial, slightly rubbed, 8vo, Downey & Co.; and 5 others, of which 4 by Le Fanu (9)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
BORGET (AUGUSTE)Sketches of China and the Chinese, additional pictorial lithograph title and 32 tinted lithograph views on 25 sheets by Eugene Ciceri after Borget, list of plates and 11 pages of descriptive letterpress, marginal light spotting, publisher's cloth, rebacked [Abbey Travel 540], folio (545 x 370mm.), Tilt and Bogue, [1842]Footnotes:IMPORTANT AND EARLY RECORD OF THE PEOPLE AND LANDSCAPE OF CANTON, MACAO AND HONG KONG. This edition, with the text in English, was issued in the same year as the French version published by Goupil and Vibert, whose imprint appears on the plates. Five of the plates depict Hong Kong, which became a British Crown Colony in 1842, the others depicting scenes along the Pearl River, including Macao and Canton.Provenance: Gift inscription on first flyleaf dated 1843.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
LE FANU (JOSEPH SHERIDAN)The House by the Church-yard, 3 vol., FIRST EDITION, FIRST ISSUE, half-title in volume 3 only (as issued), occasional spotting, pp.257-278 loosened in volume 3, pencil correction to spelling/printing errors on pp.197 and 307 in volume 1, publisher's Royal blue blind-stamped cloth, spines lettered and tooled in gilt, rubbed [Sadleir 1379, first issue; Wolff 4016], 8vo, Tinsley Brothers, 1863Footnotes:RARE FIRST EDITION IN THE PUBLISHER'S CLOTH of Le Fanu's classic of supernatural fiction. 'The pages of the novel are crimsoned in gore with seasonings of hauntings, apparitions, and brooding menace. There are connoisseurs of the ghostly who put it first among Le Fanu's works' (Tymn, Horror Literature, 1981).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
WILDE (OSCAR)A Woman of No Importance, FIRST EDITION, [LIMITED TO 500 COPIES], publisher's decorative lilac cloth gilt designed by Charles Shannon, soiling, very short tear to spine ends [Mason 364], 4to, John Lane, 1894Footnotes:Provenance: Panos Gratsos (1909-1990), bookplate.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
ROSSETTI (CHRISTINA)Goblin Market, AUTHOR'S PRESENTATION COPY, INSCRIBED 'Lisa Wilson with love from Christina G. Rossetti, December 1893' on the front free endpaper, 8-line pencil quotation from Mackenzie Bell's poem 'I marvel not that God...' added beneath in another hand, 12 full-page plates and illustrations by Laurence Housman, publisher's decorative green cloth gilt, g.e., extremities slightly rubbed, 8vo, Macmillan, 1893Footnotes:SCARCE PRESENTATION COPY OF GOBLIN MARKET, ROSSETTI'S MOST FAMOUS WORK. First published in 1862 in Rossetti's first collection of poems (Goblin Market and Other Poems) it 'was universally praised by reviewers as the herald of a new voice and an original talent' (ODNB). This edition was instigated by the illustrator Laurence Housman, 'a long time admirer of Christina's poetry... so committed to the project that he even offered to take on the risk of publication himself if necessary... [as] a labor of love' (L.J. Kooistra, Christina Rossetti and Illustration, 2002). After some hesitation Rossetti accepted the idea, approving Housman's artistic interpretation, writing to 'assure him that my goblins will keep peace with all his'. Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
MILNE (A.A.)When We Were Very Young, first issue with p.ix unnumbered, dust-jacket spine slightly darkened and frayed at extremities, [1924]; Winnie-The-Pooh, small label with Milne's name pasted to front free endpaper, blue pictorial morocco, spine faded, dust-jacket (?from another copy) slightly soiled, short tear at upper corner of lower joint, [1926]; Now We Are Six, spine slightly faded, jacket soiled with some loss to spine extremities with loss of word 'Now' and touching 'We', [1927]; The House at Pooh Corner, later pencil note on half-title, small repair with minor loss to head of jacket spine, [1928], FIRST EDITIONS, illustrations by E.H. Shepard, all but the second mentioned publisher's pictorial cloth gilt, t.e.g., dust-jackets, 8vo, Methuen (4)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
Richter, Ludwig Adrian (Dresden 1803 - 1884)"Rübezahl". Erster Entwurf. Bleistiftzeichnung, 1848. Unten rechts in der Darstellung signiert und datiert. Darunter auf Blatt der Zeichnung von fremder Hand (wohl dem späteren Käufer) betitelt und mit Besitzangabe versehen: "Ernst Wilhelm Zöllner 1905 / von Alexander Köhler gekauft". Auf kaschierten Karton montiert, hier liniengerahmt und ausführlich bezeichnet von fremder Hand. Untersatz rückseitig nochmals in Blei von unbekannt mit Besitzerangabe "Ernst Wilhelm Zöllner. Dresden=Strehlen" versehen. In frischem, hochwertigen Passepartout. 30 x 19,5 cm (Bl), 36 x 25,5 cm (US), 36 x 26,5 cm (PP). Etwas angestaubt und vereinzelt minimal fleckig. Insgesamt guter bis sehr guter Zustand. Provenienz: Sammlung Verleger Alexander Köhler (Dresden); 1905 von Ernst Wilhelm Zöllner (Vorsitzender der Sektion Strehlen des Gebirgsvereins für die Sächsische Schweiz) erworben; Nachlass Zöllner (Dresden); Nachlaß eines Dresdner Antiquars. Im Jahr 1848 schuf Richter im Auftrag des Sächsischen Kunstvereins zwei märchenhafte Radierungen, die den Mitgliedern als Jahresgabe überreicht werden sollten: Genoveva und Rübezahl. Beides Sagengestalten, die eng mit dem Wald verbunden sind - die eine, die in der Einsamkeit und dem Schutz der Natur überlebt, der andere, der eben diesen Lebensraum bewacht und beherrscht. Der vorliegende erste Entwurf zum Berggeist, der die junge Mutter schreckt, zeigt sich deutlich wohlgesonnener als die Druckversion: die Geste Rübezahls ist sanfter, sein Minenspiel neckischer, nahezu verschmitzt. Um die junge Mutter ist alles im Tumult, die Kinder lärmen und purzeln umeinander; mächtig baut sich der Geist neben ihnen auf und mahnt zur Besonnenheit und Ruhe in seinem Reich. Vielleicht versteckte Richter hier eine subtile Beobachtung zur Revolution von 1848/49? Illustration to the fairytale of Rubezahl, wizard in the Krkonose mountains. First drauft. Pencil drawing, 1848. Signed in the motif bottom right, dated. Below the motif, on the paper, titled and with name of owner in pencil (later added). Mounted on cardboard, here titled and with notes by heirs of late owner. Freshly mounted in passepartout. Drawing a bit dusty and with some very few minimal spots. Allover good to very good condition.
Fraaß, Erich (1893 Glauchau - 1974 Dresden)"Heimfahrt". Holzschnitt, erste Hälfte 20. Jh. Unterhalb der Darstellung in Blei signiert und betitelt. Bezeichnet "Probedruck". Lose in älteres Passepartout eingelegt. 30,5 x 44,5 cm (St), 47 x 58 cm (Bl), 50 x 60 cm (PP). Deutlich lichtrandig und gebräunt. Etwas fleckig oben links. Kraftvolle Schilderung eines Pferdewagens mit Bauersleuten auf dem Feldweg. The journey home. Wood-cut, first half 20th century. Signed and titled below the motif. Loose in old passepartout. Clearly tanned darker, some stains top left corner. Horse waggon with farmers returning home from the fields.
Blädel, Fritz (1903 München - wohl 1950 Nürnberg)"Abendstimmung in Tyrol". Öl auf Leinwand, erste Hälfte 20. Jh. Unten rechts signiert. Rückseitig auf Keilrahmen betitelt, daneben Ausstellungsetikett der Galerie Del Vecchio, Leipzig. Gerahmt. 72 x 83 cm, 88 x 98 cm (Ra). In pastosen Partien mit Krakelée und Schollenbildung. Vereinzelt minimale Farbverluste. Sehr nahsichtiges Alpenstück mit interessanter, ausschnitthafter Motivwahl: zu sehen sind nur die Teilfassade eines Alpenhauses mit Balkon und Verbindungsbrücke zum Stall vor einem fein gestaffelten Bergmassiv, auf dessen Spitze sich die beliebte Lichtstimmung des Alpenglühens am zeitigen Abend ankündigt. Evening mood in Tyrol. Oil on canvas, first half 20th century. Signed bottom right. On the backside titled on stretcher and with exhibition label from the Del Vecchio Gallery in Leipzig. Framed. Craquelure in some parts, even with small losses of paint.
Jahn, Georg (1869 Meissen - 1940 Dresden-Loschwitz)Blumenfrau auf dem Altmarkt in Dresden / Dresden - Panorama am Fluss. Radierungen, erste Hälfte 20. Jh. Jeweils unterhalb der Darstellung rechts in Blei signiert, links bezeichnet "Neudruck". Einzeln hinter Glas gerahmt. 22,5 x 14,5 cm / 19 x 32 cm (Pl), 40 x 30 cm / 36 x 46 cm (Ra). Leicht angegilbt. Two etchings with motifs from Dresden. First half 20th century. Each signed in pencil below the motif, single framed behind glass. A bit tanned.
Paire de vases couverts en marbre blanc veiné de la première partie du XXe siècleDe forme fuseau et base circulaire.H. 63 cmA pair of veined beige marble covered vases from the first part of the 20th centurySpindle-shaped with circular base.For further information on this lot please visit Bonhams.com
Deux consoles en acajou et placage d'acajou de la première partie du XIXe siècleDe forme rectangulaire, elles ouvrent à un tiroir, et reposent sur des pieds avant à colonne baguée de bronze et des montants arrière droit réunis par une base en plinthe. (modèles différents)Dessus de marbre noirH. 81 cm - L. 82 cm - P. 41 cmTwo mahogany and mahogany veneer consoles from the first part of the 19th centuryRectangular in shape, they open with a drawer and stand on bronze-ringed column front legs and straight rear uprights joined by a plinth base (different models). Black marble topFor further information on this lot please visit Bonhams.com
Paire de bergères à dossier plat en bois redoré de la première partie du XIXe siècleA décor sculpté de frises de piastres, de raies de coeur et de perles; elles reposent sur quatre pieds fuselés, cannelés et rudentés.H. 96 cm - L. 67 cm - P. 50 cmA pair of giltwood bergères from the first half of the 19th centuryDecorated with carved friezes of piasters, heart-shaped stripes and pearls, they stand on four tapered, fluted and curved legs.For further information on this lot please visit Bonhams.com
Paire de fauteuils Egyptomania en bois cérusé de la première partie du XXe siècleA dossier et assise de forme rectangulaire à motif de frise de feuilles de lotus, les accotoirs et supports d'accotoir en forme d'ouette d'Egypte. Il repose sur des pieds droits finissant en cylindre évasé.H. 92 cm - L. 62 cm - P. 65 cmA pair of Egyptomania wood armchairs, first part of the 20th centuryRectangular back and seat with frieze motif, armrests and arm supports in the shape of an Egyptian goose. It stands on straight legs ending in a flared cylinder.For further information on this lot please visit Bonhams.com
Important et inédit groupe blanc de Capodimonte représentant Tancrède et Clorinde, vers 1755Modélé par Giuseppe Gricci, Tancrède portant une armure et un long manteau, un casque et une épée à ses pieds, tenant la main droite de Clorinde qui est assise sur une base en rocaille, son bouclier ovale avec un masque de lion et un casque à plumes à ses pieds.H. 28,5 cm - L. 24,5 cm An important and previously unrecorded large Capodimonte white group of Tancred and Clorinda, circa 1755Modelled by Giuseppe Gricci, Tancred wearing armour and a long cloak, a helmet and sword at his feet, holding the right hand of Clorinda who is laid on rockwork base, her oval shield with a lion mask and a plumed helmet at her feet.Footnotes:Ce groupe important et inédit fait partie d'une série de grandes sculptures ambitieuses de Capodimonte basées sur le célèbre poème épique du poète italien le Tasse, 'La Gerusalemme liberata' ou La Jérusalem délivrée. Publié pour la première fois en 1581, ce poème raconte une version largement mythifiée de la première croisade, au cours de laquelle des chevaliers chrétiens, menés par Godefroy de Bouillon, affrontent des musulmans afin de prendre Jérusalem.Le personnage fictif de Clorinde est une femme guerrière de l'armée sarrasine. Elle est introduite pour la première fois dans le deuxième chant du poème, lorsqu'elle sauve Sophronie et Olinde, deux amoureux chrétiens de Jérusalem, et réapparaît sous le commandement du roi de Jérusalem, Aladin, pour aider à la défense de la ville. Tancrède la voit sur le champ de bataille et tombe amoureux d'elle, refusant ainsi de la combattre. Mais le sort s'acharne : lors d'une bataille nocturne au cours de laquelle elle met le feu à la tour de siège chrétienne, elle est tuée par Tancrède, qui ne la reconnaît pas dans son armure et dans l'obscurité.Une version en terre cuite légèrement plus grande du groupe de Tancrède et Clorinde se trouve au Los Angeles County Museum, où elle est décrite comme provenant probablement de Naples et datant d'environ 1750. Il est probable que cette terre cuite ait servi de bozetto pour le groupe final en porcelaine, et que les autres versions en terre cuite et leurs contreparties en porcelaine aient toutes été conçues par Giuseppe Gricci comme faisant partie d'un ensemble plus vaste.Une grande sculpture de Capodimonte représentant Godefroy sur la tombe de Dudone se trouve dans la collection de la National Gallery of Victoria, à Melbourne (D4-1991). Elle est probablement apparentée à la figure en terre cuite conservée au Museo Arqueológico Nacional de Madrid, Inv. 2016/134/1, et attribuée à Giuseppe Gricci.Olinde et Sophronie ont également été modelées par Giuseppe Gricci, et un exemplaire en porcelaine se trouve au Museo Palazzo Madama de Turin, tandis que son modèle en terre cuite se trouve dans une collection privée italienne, et les deux sont illustrés dans A. Carola-Perrotti, 'Le porcellane dei Borbone di Napoli, 1743-1806' (1986), cat.no. 154 et 155. Carola-Perrotti illustre également (op.cit. cat.no. 156) un modèle en terre cuite d'une collection privée représentant Herminie écrivant le nom de Tancrède dans un arbre.This large and previously unrecorded group is part of a series of ambitious large-scale Capodimonte sculptures based on the famous epic poem by the Italian poet Torquato Tasso, 'La Gerusalemme liberata' or Jerusalem Delivered. It was first published in 1581 and tells a largely mythified version of the First Crusade in which Christian knights, led by Godfrey of Bouillon, battle Muslims in order to take Jerusalem. The fictional character of Clorinda is a warrior woman of the Saracen army. She is first introduced in the second canto of the poem, when she rescues Sofronia and Olindo, two Christian lovers of Jerusalem, and the reappears under the command of the King of Jerusalem, Aladine, aiding that city's defences. Tancred sees her on the battlefield and falls in love with her, thus refusing to fight her. But fate strikes, when during a night battle in which she sets the Christian siege tower on fire, she is killed by Tancred, who does not recognise her in her armour and the darkness. A slightly larger terracotta version of the group of Tancred and Clorinda is in the Los Angeles County Museum, there catalogued as likely Naples and circa 1750. It it likely that this terracotta may have served as a bozetto for the final porcelain group, and that other terracotta versions and their resulting porcelain counterparts were all conceived by Giuseppe Gricci as part of a larger ensemble. A related large Capodimonte sculpture depicting depicting Godfrey at the tomb of Dudone is in the collection of the National Gallery of Victoria, Melbourne (D4-1991). It is related to the terracotta figure held in the Museo Arqueológico Nacional in Madrid, Inv. 2016/134/1, and there attributed to Giuseppe Gricci.Olinda and Sofronia were also modelled by Giuseppe Gricci, and a porcelain example is in the Museo Palazzo Madama in Turin, whilst its terracotta model is in a private Italian collection, and both are illustrated in A. Carola-Perrotti, 'Le porcellane dei Borbone di Napoli, 1743-1806'(1986), cat.no. 154 and 155. Carola-Perrotti also illustrates (op.cit. cat.no. 156) a terracotta model in a private collection depicting Erminia writing Tancred's name in a tree.For further information on this lot please visit Bonhams.com
Important tapis de la Perse de la première partie du XXe siècleDe forme prière, le fond rose habraché présente un décor de ramages, le haut de la porte du mihrab à fond turquoise; large bordure à rinceaux et fleurs. 200 x 300 cm env.An important Persian rug from the first part of the 20th centuryPrayer-shaped, the pink habraché background is decorated with antlers, the top of the mihrab door with a turquoise background; wide border with foliage and flowers.For further information on this lot please visit Bonhams.com
• BERNARD MYERS (BRITISH 1925-2007) Bernard Myers (lots 139-158)Work and travel in the Middle East and India introduced me to a world of colour. Under the influence of Islamic tiles and textiles, and Indian and Tibetan painting I set out to teach myself colour. My work at this time was mainly abstract and loosely based on astronomical and optical diagrams. Gradually I turned to realism via still life, working very precisely... (Bernard Myers) IntroductionTrained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art, Camberwell and the Royal College of Art. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. He returned to the RCA to teach for the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85). Students at the RCA treasured Myers’ good advice. James Dyson remembered him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a Fellow, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’ The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels (lots 151-156), the still-lifes he worked on in his studio (lots 143-150), the nudes he painted in weekly life-classes, and his not infrequent forays into abstraction, precipitated in part by his fascination with space (lots 139-142). He married Pamela Fildes, grand-daughter of the painter Sir Luke Fildes in the early 1950s; they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 157 &158). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art (1979). He also penned articles for The Artist (May 1988) on his highly original approach to pastel (lots 139-142 & 147-150), and Artists and Illustrators (1995) on his Venice views (lots 151- 154).139BERNARD MYERS (BRITISH 1925-2007)PLANETARY COMPOSITIONS I & IIoil pastel on thin paper(i) 56 x 43cm; 22 x 17in (ii) 43 x 56cm; 17 x 22in (both unframed)(2)
• ROSE HILTON (BRITISH 1931-2019) Rose Hilton (lots 175-182) You have to give a lot to painting. It's not something you can just dash off. You have to take risks - risk ruining it. You have to know when to stop. Rose Hilton Introduction Rose Hilton (née Phipps), along with her seven siblings, was brought up by strict Plymouth Brethren parents in Kent. Studying at Beckenham Art School after the Second World War she had been expected to go on to train as a teacher, but secretly applied to the Royal College of Art and was awarded a scholarship, much to the consteration of her parents. In her RCA cohort was Peter Blake; on the year above was Frank Auerbach. The college's focus on figurative work suited Hilton and she graduated in 1957 with a first class degree and prizes in painting and life-drawing. Rose fell for Roger Hilton in 1959, introduced by Sandra Blow. She called him her 'Jesus of the art world'. They had a son - Bo - in 1961, married in 1965 and set up home together in three 19th century crofters cottages high on the cliff tops at Botallack, West Cornwall. There, John Wells, Peter Lanyon, Terry Frost and Patrick Heron were in their circle of artist-friends. But Hilton decreed that there was only room for one artist in the household and forbid Rose to paint. Instead she focused on raising her family and supporting her husband. But following Hilton's death in 1975, Rose returned to painting and two years later had her first solo exhibition at the Newlyn Gallery. The house became a hive of activity, described as ‘chaotic’ by many, there were always people coming and going, and frequent parties. A conservatory was added which became her studio, providing the perfect light in which to work. The tranquility of the space suggested the luminous interiors of work by Bonnard, his use of light in his interiors greatly influencing Rose's style. As Ian Collins noted 'Rose had alsways loved the intimacy and accessibility of Bonnard's brilliantly lit domestic interiors... particularly the glowing and jewel-like effects that can be achieved through layers of underpainting, a technique she has always loved' (Collins, Rose Hilton, London, 2016). Although she used professional models, she preferred to ask friends and family to sit for her. Typically she focused on the shape of the person rather than their physical identity (lots 176-181). Much of her later figure work is more abstract, the figure not necessarily taking centre stage in the composition, but being one element of many.175ROSE HILTON (BRITISH 1931-2019)STILL LIFE WITH FLOWERS IN A VASEsigned Rose / Hilton lower right oil on canvas board 50.5 x 40.5cm; 19 3/4 x 15 3/4in (unframed)
• HEDWIG PILLITZ (BRITISH-HUNGARIAN 1896-1987) PORTRAIT OF BARBARA COMYNSoil on canvas82.5 x 65.5cm; 32 1/2 x 25 3/4in(unframed)The painter and writer Barbara Comyns (1907-1992) was born in Bidford-on-Avon, Warwickshire and attended Heatherley School of Fine Art in London. She exhibited alongside her first husband, John Pemberton, with the London Group in 1934 and counted Augustus John and Dylan Thomas among her aquaintances. After the breakdown of her first marriage and subsequent relationship with Arthur Price, Comyns became a cook at a country house in Hertfordshire and began to write a series of vignettes about her childhood. She returned to London with her two children in 1942 and married MI6 agent Richard Strettell Comyns Carr, whose boss was Kim Philby and colleague was Grahame Greene. Greene encouraged Comyns' writing, but due to his association with Philby, Comyns Carr was obliged to quit MI6, and the couple moved to Spain. Comyns subsequently published a string of very successful novels, including Sisters by the River (1947), Our Spoons Came from Woolworths (1950), Who Was Changed and Who Was Dead (1954) and The House of Dolls (1989).
• HUGH CRONYN (BRITISH 1905-1996) Hugh Cronyn (lots 167-174)IntroductionYoung, impressionable and fresh from Toronto where he had studied with the Group of Seven painter Frank Johnston, Cronyn departed Canada with an irrepressible can-do New World outlook. His unpublished memoirs recount his pre-war years: his time at the Arts Students League in New York in 1929; the early 1930s in Paris tutored by Jean Despujols and André Lhote; bicycling across the Alps; and on his arrival in England his immersion into bohemian life in West London. From the mid-thirties he rented various studios by the Thames in Hammersmith and met many of the leading artists and writers of the day. One such was Ivon Hitchens, whose second solo exhibition at the Lefevre Gallery he helped hang. But most influential in his circle of friends was the critic, humourist and politician A P Herbert ('APH') and his wife Gwen, herself a painter and stage-designer of note. At their home at 12 Hammersmith Terrace, Cronyn met the likes of Edward Wadsworth, Mark Gertler, Leon Underwood and John Piper. Ceri Richards lived nearby, as did poets Robert Graves and Laura Riding in St Peter’s Square. He went on painting trips to Dorset with Julian Trevelyan, his neighbour at Durham Wharf, and to the French-Spanish border with Ray Coxon and Edna Ginese at the time of the Spanish Civil War. After the outbreak of the Second World War, Cronyn was commissioned into the Royal Navy. Put in charge of the Naval bomb disposal squad in Bristol dockyards, he was the first Canadian to be awarded the George Medal (GM). In 1942 he married Jean Harris and settled in Suffolk where from 1949-69 he was tutor of painting at Colchester School of Art teaching alongside John Nash, Edward Bawden, Carel Weight and Peter Coker (lot 174). From 1963 the Cronyns began to spend their summers in Quercy in the Lot, first renting a 15th century gatehouse and studio, then a small house, Les Vergers, before buying a dilapidated farmhouse in 1970 in Caufour which they renovated (lot 170). From 1974 the Cronyns spent the winter months in 3 St Peter’s Wharf, next door to Hammersmith Terrace, in one of the artists’ studios overlooking the Thames constructed by Julian Trevelyan. Cronyn's late paintings of the river, which capture the spectrum of colours as the seasons changed, document the river’s moods from winter mists to intense summer sun, and hang in many private collections (lot 172).167HUGH CRONYN (BRITISH 1905-1996)WOODLANDS, QUERCY signed CRONYN lower rightoil on canvas46 x 65cm; 18 x 25 1/2in (unframed)
• MAURICE COCKRILL (BRITISH 1936-2013) Maurice Cockrill (lots 183-187) IntroductionPainted in 1984-85, the following five lots by Cockrill relate to the artist's first years in London when he was exploring legendary female figures in his work, including Ophelia, Judith, Medea and Venus. Lots 183, 185 and 186 are preparatory sketches for the resultant sequence of large-scale paintings on this theme. The works directly engage with the masters of the European tradition and appeared at a time - some forty years ago - when there was a wide revival of interest in expressive figurative painting that championed allegorical, historical and mythological subject matter. Cockrill's series followed his move south from Liverpool where he had taught for the previous eighteeen years. For the first half of his life - until the early 1980s - Cockrill had largely confined himself to the north. Born in Hartlepool, County Durham, and raised in Wales and the Midlands, his time studying at Wrexham School of Art and then in Liverpool had been broken only by three years at Reading University (1961-64). In the early 1970s he was working in a photo-realist style, but by the end of decade his work was becoming more loaded, more expressive. It was to test this nascent expressionism in a more demanding art world that he embarked on the move to London in 1982.Cockrill first took over Bridget Riley's old studio in Clerkenwell where Paula Rego was a neighbour and soon became a friend. The first work he produced in London continued in the vein he had begun, increasingly visceral and disturbing, but now with just the slightest hint of Rego's influence (lot 184). In 1984 Edward Totah gave him a one-man show, then from 1986-96 he was represented by Bernard Jacobson, under whose aegis Cockrill's style mellowed and his ideas proliferated. Natural imagery and the themes of growth and decay came to the forefront of his work. In 1995 he was the subject of a retrospective at the Walker Art Gallery, Liverpool, and in 1998 the last ten years of his work was shown at the Royal West of England Academy, Bristol. The following year he was elected an RA, and in 2004 he was voted in as keeper of the Royal Academy Schools. 183 MAURICE COCKRILL (BRITISH 1936-2013)OPHELIAsigned with initials and dated 84 lower right; titled Ophelia lower leftwatercolour38 x 28cm; 15 x 11in64.5 x 54cm; 25 1/2 x 21 1/4in (framed)
• TREVOR BELL (BRITISH 1930-2017) Trevor Bell (lots 111-122) One of the most important painters working anywhere today is Trevor Bell, and Bell’s first experiments in what we now call shaped canvases began in the late fifties. Patrick Heron, 1970IntroductionBell grew up in Leeds, where he studied at the College of Art (1947-1952) before teaching at Harrogate College of Art. In Leeds he met Terry Frost who was up from St Ives benefiting from a Gregory Fellowship at the university. On Frost's advice Bell and his wife moved to Cornwall in 1955. There Bell became a leading member of the younger generation of St Ives artists, exhibiting with the Penwith Society of Arts from 1956. Used to painting the grimey north of England, Bell responded with vigour and alacrity to the colour and light of his new surroundings capturing the atmosphere of the sea, coast and landscape of the south west in his distinctive and developing abstraction. An early mentor in St Ives for Bell was Ben Nicholson who encouraged him to show in London. Another there who admired his youthful painterly zest was Patrick Heron. Bell's first one man show at Waddington Galleries on Cork Street in 1958 was a sell out success. In the catalogue Heron described him as 'The best non-figurative painter under thirty'. The same year Bell was awarded an Italian government sponsorship; in 1959 he won one of six main painting prizes at the first Paris International Biennale of Young Artists and in 1960 he was awarded a Gregory Fellowship by Leeds University, and moved back north. During the following decade Bell enjoyed considerable commercial success both in the UK and abroad, including a succession of exhibitions at Waddington Galleries (1960, 1962 & 1964). It was during this period that he developed his interest in shaped canvases and the Tate Gallery purchased their first work by him. The decade culminated in a hugely successful show at the Richard Demarco Gallery in Edinburgh which toured to Northern Ireland and the Mappin Art Gallery, Sheffield. In the autumn of 1973 the Whitechapel Art Gallery mounted an exhibition of his recent paintings, and the following year he showed at the Corcoran Gallery, Washington DC. In 1976 Bell moved to Florida to take up the post of Professor for Master Painting at Florida State University in Tallahassee. Availed of a warehouse-sized studio and with time to really develop his painting he produced large-scale, intensely coloured works, reflecting the influence of the climate and landscape on him. A source of inspiration too were the rockets launched from Cape Canaveral, the first he saw being the night time launch of Apollo 17 in December 1972. This and subsequent rocket shots had a lasting influence on his work. Over the 20 years he spent in America exhibitions of his work were mounted at the Academy of Sciences in Washington, the Metropolitan Museum and Art Center, Miami, The Cummer Gallery, Jacksonville and the Museum of Art at Fort Lauderdale, Florida.In 1985 Bell was included in the the Tate Gallery's exhibition on St Ives 1939-64: Twenty-five years of Painting, Sculpture and Pottery and his work was featured in the Tate St Ives' inaugural show in 1993. Retiring from his Florida teaching post in 1996, he returned to Cornwall, setting up studios near Penzance. He was the subject of a full retrospective of his work at Tate St Ives in 2004 and in 2011 a further fourteen works were acquired by the Tate Gallery for their permanent collection. In the UK other examples of his work are in collections of The Arts Council of England, the British Council, the British Museum, Laing Art Gallery and the Victoria & Albert Museum.111TREVOR BELL (BRITISH 1930-2017)CENTRE GREENsigned and dated BELL 1961 lower left; signed, titled twice, inscribed and dated Centre Green / CENTRE GREEN / by / Trevor Bell 1961 / crayon on the reversecrayon and watercolour on thick paper53.5 x 42.5cm; 21 1/4 x 17in72.5 x 61cm; 28 1/2 x 24in (framed)
• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) Property from the Marie-Louise von Motesiczky Charitable Trust (lots 1-28) IntroductionMarie-Louise von Motesiczky (1906-1996) grew up in Vienna, but when Austria was annexed by Germany in 1938 she and her mother fled via Holland to England where she lived and painted until she died in her ninetieth year.A seminal influence on her work was Max Beckmann (1884-1950) whom she met in 1920. She recalled: ‘A winged creature from Mars could not have made a greater impact on me’ and they remained in regular contact until the end of his life. Beckmann visited her in Paris, she attended his master classes in Frankfurt 1927-28 and they stayed in contact as far as possible during his exile in Holland from 1937-47, travelling to visit him and his wife ‘Quappi’ before they left for the United States.Marie-Louise had been born into a cultured Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange in Vienna, she counted the Todescos, and Ephrussis among her family circle, and her grandmother Anna was one of Freud’s early patients. Over time the family was stricken by tragedy and financial and political turmoil. Marie-Louise’s father died in a hunting accident in 1909, her mother’s income was reduced during the post First World War years by high taxation and the failure of the family bank in 1932, and the Anschluss on 13 March 1938, impelled her to leave immediately with her mother. Her brother Karl did not do so, mistakenly thinking he could continue his studies and look after the family property. He was arrested in October 1942 for aiding Jewish refugees and deported to Auschwitz, dying of typhus on 25 June 1943.In London Marie-Louise reconnected with Oskar Kokoschka (1886-1980), a family friend from Vienna now similarly living in exile. Kokoschka arranged for her work to be exhibited in London, including a show at the Czechoslovak Institute in 1944. It was in Britain that she found her own ‘voice’ as an artist, living in Amersham during the war years, then a rented flat in West Hampstead and finally a large house on Chesterford Gardens in Hampstead. Another figure central to her life for nearly thirty years was the Nobel prize-winning writer Elias Canetti (1905-94), who is commemorated on the plaque dedicated to the two of them at the house in Chesterford Gardens.But starting afresh in Britain proved challenging for Marie-Louise, and it was not until 1960 that she had a second solo show at the Beaux Arts Gallery. In contrast, on the Continent her work was exhibited in Amsterdam and The Hague in 1952, a canvas being purchased by the Stedelijk Museum; she showed in Munich (1954) and Düsseldorf (1955), and in the 1960s she enjoyed further shows in both Austria and Germany. Then, in 1985, her work was exhibited again in London at the Goethe-Institut. The catalogue included contributions by Tate curator Richard Calvocoressi, Gunther Busch, former director of the Kunsthalle in Bremen, and the renowned cultural historian and fellow émigré Sir Ernst Gombrich.The exhibition re-ignited interest in her work, and in the years that followed her work was shown across Europe. A centenary exhibition travelled from Britain to Germany and Austria in 2006-7, her biography written by Jill Lloyd was published in 2007, followed in 2009 by a catalogue raisonné compiled by Ines Schlenker. In 2019 the ‘Marie-Louise von Motesiczky Archive Gallery’ was inaugurated at Tate Britain where the archive of her papers, photographs and the bulk of her drawings and sketchbooks are held and fully catalogued online. Her work is now in the collections of national, regional, local and university museums in Britain, Ireland, Austria, Germany, Netherlands and the United States. A major self-portrait of 1959 is on display at the National Portrait Gallery in London, following its reopening in June 2023.Literature Reference: The reference for Schlenker abbreviated in lots 1-28 is: Ines Schlenker, Marie-Louise von Motesiczky, A Catalogue Raisonné of the Oil Paintings, London, 2009. The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust. 1MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996)KOALAoil on canvas39 x 39cm; 15 1/4 x 15 1/4in(unframed)Painted in 1954; Schlenker comments that Marie-Louise's depictions of animals were typically limited to house pets and birds, and that the present close up portrait of a koala, apparently sitting in the branches of a tree, is highly unusual and appears to be unique in her work (Schlenker p. 243). ExhibitedMunich, Städitsche Galerie, Erna Dinklage, Marie Louise Motesiczky, 1954, no. 130Schlenker no. 128
• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) THE FOUR SEASONS: RECLINING MALE FIGURE WITH LAUREL CROWN IN WOODLAND - recto; STUDY FOR AUTUMN: RECLINING FEMALE NUDE IN A WOODLAND - versosigned with initials and dated 68 lower left - recto gouache on paper53 x 103cm; 21 x 40 1/2in(unframed)Feibusch appears to have executed preparatory studies for two sets of Four Seasons, the first in 1967, the second in 1968. The recto of the present work appears to relate to the 1968 series, while the verso is very likely a study for Autumn completed the previous year (see: Hans Feibusch, The Heat of Vision, 1995-96, nos. 59 (Autumn) & 60 (Summer) for the related works; also Olympia Auctions, 11th October 2023, lot 56).
• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 29-51)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lot 50), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath (lot 48) and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea (lot 49). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, whether sketching his surroundings (lot 29), or studying the model before him (lots 30 & 31), he captures the scene before him with a fine eye for detail. And as a colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 35 & 36). But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The reference for the travelling exhibition abbreviated in lots 29-51 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96 29HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) VIEW FROM THE ARTIST'S STUDIOpencil on paper 16.4 x 33cm; 6 1/2 x 13in (unframed)There is a partial sketch of a seated female figure on the reverse.
• EDMOND XAVIER KAPP (BRITISH 1890-1978) Edmond Xavier Kapp (lots 60-71) Oh to be silent! Oh to be a painter! Oh (in short) to be Mr. Kapp (Virginia Woolf) Introduction Widely remembered for his portraiture, in particular his distinctive form of character types (he did not like his work to be describe as caricature), Kapp was a highly versatile artist with an enquiring mind and a love of music. Appreciated in his lifetime also for his poetry and his evolving interest in abstraction, he aspired to write, mixed with the leading artists of the day and attracted the attention of critics and the cognoscenti. The following twelve lots from his estate capture the singularity of his artistic vision and his constant thirst for innovation. Born in Islington, London, the son of Jewish-German parents, Kapp studied in Berlin, Paris and Cambridge, where he had his first exhibition, wrote for Granta and the Cambridge Magazine and attracted the attention of Max Beerbohm. While a 2nd Lieutenant with the Royal Sussex Regiment in the First World War, he sketched portraits of his fellow soldiers to amuse them in the trenches, including the young poet Edmund Blunden, and crossed paths with William Rothenstein at Amiens, a meeting Rothenstein recalls in his autobiography Men and Memories. After the Armistice Kapp held his first one man exhibition at the Little Art Rooms, Adelphi, London, the catalogue introduction written by Beerbohm. Commissions followed, together with the publication of his first book: Personalities published in 1919 and reviewed by Virgina Woolf in her essay Pictures and Portraits. Prominent figures who featured in his early work included Edwin Elgar, Percy Wyndham Lewis and Richard Strauss. Later, after the War, subjects ranged from Albert Einstein (1923) to the Duke of Windsor, the future King Edward VIII (1932); of leading personalities in the arts he captured the characters of Aldous Huxley and Noël Coward. Kapp typically rejected supplying caricatures to newspapers, preferring to choose his own subjects. But he did take on commissions, such as his series Ten Great Lawyers published in 1924 in the Law Society Journal. And his work appeared in a wide variety of periodicals, most notably Time and Tide, output that resulted in the publication of further volumes of his collected portraits, and an exhibition of his work at The Leicester Galleries, the leading contemporary gallery in London of the day. In 1922 Kapp married Yvonne Meyer, journalist, photographer, translator and writer, now best known for her biography of Eleanor Marx. On their honeymoon the young couple visited Beerbohm in Rapallo and settled the following year in Rome where Kapp studied at Sigmund Lipinsky’s art school and under Antonio Sciortino at the British Academy. There too he met the American painter Maurice Sterne who encouraged him to paint in oil. Kapp also developed his interest in lithography as a means to sell limited editions of his more well-known sitters. It led in 1935 to a commission for portraits of twenty-five delegates to the League of Nations in Geneva. Publication of the series brought him to the attention of Pablo Picasso, and the beginning of a close friendship between the two artists. Kapp captured Picasso’s profile in a sketch of him in his studio at 23 Rue La Boetie, Paris in 1938, purportedly the only likeness for which Picasso agreed to sit (collection of the Victoria & Albert Museum). And there are relaxed and informal photos of Picasso in bathing trunks snapped by Kapp in 1948 outside the restaurant Chez Nounou and the Hotel de la Mer in Golfe Juan when holidaying with Picasso in the South of France. During the Second World War Kapp was an Official War Artist; after the War he worked as an Official Artist to UNESCO. He kept a studio at 2 Steeles Studios, Haverstock Hill in Hampstead, North London (lots 67 & 71) and in Beausoleil, near Monaco in the Alpes Maritimes (lot 61), and explored abstraction. String Quartet (lot 71) suggests his interest in synaesthesia and the work of Kandinsky; his playful Dragon Flight (lot 69) invokes the wit of Paul Klee, while the exploration of his medium in Abstract Composition (lot 69) is suggestive of fellow experimental artist Max Ernst.60EDMOND XAVIER KAPP (BRITISH 1890-1978)PORTRAIT OF A LADYsigned Kapp lower left; dated 1958 lower rightoil on canvas92 x 60.5cm; 36 1/4 x 23 3/4in (unframed)
• JAMES HULL (BRITISH 1921-1990) James Hull (Lots 99-110) Introduction Hull aptly summed up his work as ‘a tension of objects in space’. And at his solo ‘come-back’ exhibition at Adrienne Resnick Gallery in 1989 Resnick described him as ‘a giant, both physically and as an artist’. Hull’s reputation flourished in the 1950s, when he established himself as one of the leading abstract painters of the post-War years in Britain. His first one-man exhibition was at the Brook Street Gallery in 1949 where Herbert Read gave the opening address. In 1951 he designed a mural for the Dome of Discovery at the Festival of Britain and started showing regularly with Gimpel Fils (1951-56). Elsewhere in London he exhibited with the Redfern Gallery and at the ICA and took part in the renowned This is Tomorrow exhibition at the Whitechapel Art Gallery in 1956; the same year Gimpel held a joint exhibition of Hull and Roger Hilton’s work. Abroad he showed with Galerie de France, Paris, Passedoit Gallery, New York (together with Peter Lanyon and William Gear), and at the Carnegie Institute, Pittsburgh. But in 1960 Hull turned his back on painting full time after winning a competition to design the interior of the Daily Mirror building. He spent the next ten years as a full-time design consultant for the International Publishing Corporation (IPC), before moving with his family to Ibiza where he designed jewellery. After the tragic death of his daughter in a car accident in the early 1970s he left to embark on a solo travel odyssey. Over the next few years he held down a variety of jobs, including as a consultant designer for NASA’s space shuttle building in the USA. Returning to London in 1980 he took up painting once more. It took him a few years to re-establish himself, but by the end of the decade his work was starting to get traction once again, first at the Strickland Gallery in 1986, and then with Adrienne Resnick Gallery and Whitford & Hughes in 1989. His death a year later was all too premature.99JAMES HULL (BRITISH 1921-1990)DESIGN FOR A THEATRE SET; THE PAPS OF JURA; STUDY OF A HOUSE(i) signed and dated HULL 46 upper right; (ii) signed Hull... lower right; (iii) signed HULL upper left (i & iii) gouache and pencil; (ii) gouache and wash and pen and ink(i) 32.5 x 33cm; 12 3/4 x 13in; (ii) 20 x 39cm; 8 x 15 1/4in; (iii) 38.5 x 50cm; 15 x 19 3/4in (sheets)(all unframed)(3)
• HEDWIG PILLTZ (BRITISH-HUNGARIAN 1896-1987) Hedwig Pillitz (lots 72-82) Introduction We know frustratingly little of the Hedwig Pillitz who excelled as a portraitist, and we often have scant information on her sitters. But she clearly had a cultured upbringing, was a talented portraitist, and was drawn instinctively to those in the arts - actors, musicians and writers. Born in Hampstead, Hedwig was the eldest daughter of Arpad Armin Pillitz (1867-1947) and his wife Josephine (née Fischer; 1876-1965) who had emigrated to England from Hungary. She had two younger siblings: a sister Doris (1905-1959) and a brother George (1909-1981). The family lived at 80 Canfield Gardens in South Hampstead and the girls attended the nearby South Hampstead High School where Hedwig excelled at art and Doris in music and drama. The sisters’ considerable accomplishments are mentioned in the 1926 South Hampstead High School Magazine Jubilee Number where they are listed as members of the school’s Past and Present Club. Doris was praised for her musical contribution at the Old Girls’ Dinner in July that year, and the ‘Art’ report records that Hedwig had exhibited a landscape in the 1926 ‘Paris Salon’. Elsewhere, under the heading ‘Recent News’ it was noted that Hedwig was showing a flower piece and a landscape at the Autumn Exhibition at the Walker Art Gallery, Liverpool and that Doris had gained a First Class degree in acting at the Central School of Speech Training and Dramatic Art, was the winner of the second year students’ Diction Competition, and had been awarded a prize for verse recital at the 1926 Oxford Recitations. Doris subsequently performed regularly as a cast member at the Old Vic theatre in the 1927-29 season. Meanwhile, Hedwig established her studio at 29 Abercorn Place, St John’s Wood, painting a range of notable sitters, women in particular, including the young artist and future novelist Barbara Comyns (lot 75). With many of Pillitz’s sitters being in the arts, it is unsurprising to find that her only painting in a public UK collection is of an actor: Dorothy Black in the role of Emily Brontë in The Brontes (Victoria & Albert Museum). Hedwig painted Black in the lead role in 1933, the year that the play, written by Alfred Sangster, transferred from Sheffield to the Royalty Theatre, London, and bequeathed it to the museum in her will. All Hedwig’s paintings in the present sale seem to have been painted from the late 1920s through until the 1950s.72 HEDWIG PILLTZ (BRITISH-HUNGARIAN 1896-1987)PORTRAIT OF PADDY GOODMAN VINEsigned PiLLiTZ lower rightoil on canvas61 x 51cm; 24 x 20in(unframed)
A Regency brass-inlaid mahogany sofa, first quarter 19th century, with shaped top rail and slender scrolling arms inlaid with quatrefoils, covered in pale blue watered silk, the seat with squab and bolster cushions, the anthemion-headed sabre legs with brass caps and castors, 83cm high, 203cm wide, 68.5cm deepProvenance: Christie's, London, Gloria: Property from the late Dowager Countess Bathurst, lot 24.Photograph: © Christie's Images
An Anglo-Indian ebony daybed, first half 20th century, with red-covered seat cushion and back; together with a pink, yellow and blue-striped bolster cushion, 95cm high, 215cm long, 81cm deepProvenance: Christie's, London, Alexandra Tolstoy: An Interior by Sybil Colefax and John Fowler, 25 November 2020, lot 75.Photograph: © Christie's Images
A Dutch-engraved Silesian-stemmed shipping goblet, c.1740, the funnel bowl finely engraved with a three-masted sailing ship flying a flag inscribed VOC beneath the inscription DE OOSTINDISCHE COMPAGNIE for the Dutch East India Company, the bowl set on a flattened ball knop with tear inclusion and a Silesian hexagonal pedestal stem and folded foot, 16.8cm highFootnotes: Note: This goblet is a fine example of a type of English glassware decorated with wheel-engraving by Dutch artisans, dateable to the first half of the 18th century. The stem type known as 'Silesian' is not for any direct connection with Silesia but instead so-named to honour the arrival of the Hanoverian George I to the English throne in 1714. The ship depicted, while not named as a Privateer vessel, can be associated to the Dutch East India Company by the presence of the 'VOC' insignia to the ship's flag. The Dutch East India Company was constituted in 1602 as a means to amalgamate the various competing Dutch companies trading in the East Indies under one monopolistic corporation, united by national interest against foreign competitors. The presence of the 'VOC' insignia on material goods, both luxury and utility, served as a reminder of both the strength and the wealth of the company. Considering the well-established Dutch ritual of drinking and toasting at the conclusion of formal affairs and business transactions, it is not surprising that wine glasses would be an ideal object to bear the mark of the company, regardless of whether the goblet was intended for practical use or as a purely symbolic object. A similarly shaped goblet with related East India Company engraving to the bowl was sold at Bonhams as part of the A.C. Hubbard Collection of Important English and Dutch Glass, 30 November 2011, lot 261, for £5000 (including buyer's premium). Condition Report: This goblet is in overall good condition and presents well despite some minor flaws and light wear consistent with age, listed below: Some light scratches to the bowl. An area of very minute chipping to the rim just above the tallest mast of the engraved ship. An impurity mark to one panel of the Silesian stem, between two of the corners. An impurity to the folded foot with further tiny air bubbles and scratches to the underside of the foot. Additional images are available - click here.
A French inlaid and gilt-brass mounted kingwood dining table, first quarter 20th century, on cylindrical tapering legs to gilt-brass caps, bearing stamp E Zwiener, 74cm high, 166cm wide, 120cm deep; with three later leaves without veneerCondition Report: scratches, knocks and stains throughout, some veneer missing, some lifting to veneer, legs are slightly wobbly
A large English giltwood oval mirror, of Adam style, first quarter 20th century, the moulded gadrooned frame with egg and dart border, urn crest and floral surmounts, 190 x 118cmCondition Report: crack to the mirror round the border, some loss of gilt decoration, split and repair to surmounts, split and possible repair to the bottom of the frame
A Regency giltwood convex mirror, first quarter 19th century, the carved eagle crest perched upon scrolling foliage, the moulded frame with ball mounts and egg and dart border, 106 x 68cm (VAT charged on hammer price)Condition Report: knocks and loss of gilt, large split and repair to the top left of the moulded frame, splits to the inner ebonised frame, split to the bottom right side of the frame, foxing to mirror plate, split to the top right side of the frame
A Queen Anne inlaid walnut chest, first quarter 18th century, with two short over three long graduated drawers, on later feet, 94cm high, 96cm wide, 58cm deepCondition Report: scratches, stains and old gouges throughout, signs of old woodworm, large split to left side panel, some veneer/moulings missing, structurally sound
A pair of George IV oak Gothic revival stools, first quarter 19th century, with needlework tapestry seats, on chamfered legs joined by H-frame stretcher, on square bun feet, 42cm high, 36cm wide, 36cm deep (2)Provenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.
An English walnut clothes rack, first quarter 18th century, decorated in brass studs with the date 1720 and with IHS monogram and cross, 33cm high, 166cm wideProvenance: The estate of the late Dodi Heath (1934-2019).Condition Report: signs of old woodworm, split to one of the brackets, structurally sound
Cook, James & Anderson, George William, A New, Authentic, and Complete Collection of Voyages Round the World, Undertaken and Performed by Royal Authority, Containing an Authentic, Entertaining, Full and Complete History of Captain Cook's First, Second, Third and Last Voyages, 1 Vol., missing second volume with Cook's Third Voyage, with 73 engraved plates and charts and one folded chart, 398pp, half bound with marbled boards, lacking spine, boards detached, with bookplate for George Godfrey Pearse, London: Alex Hogg, c.1784-86
A Caucasian Shirvan rug retailed by Waring & Gillow, first quarter 20th century, the central field with lozenge medallion and geometric motifs, on a terracotta and blue ground, contained by geometric border, the back of each end stitched with makers label Waring & Gillow Ltd, Lancaster, 226 x 106cm Condition Report: was used as a wall hanging most of its life so has minimal wear, no rips or signs of repairs, colours are good, overall very good condition
A collection of New Naturalist books, 20th century, comprising: New Naturalist Monographs, 1948-1960, First Edition, 17 Vols., nos. 1-14,15-18 (no. 16 missing), The New Naturalist series, 1946-1974, First Edition, nos. 2, 5-44, and 57, no. 4 being a Second Edition, nos. 1 & 3 being 1946 reprints, all with original cloth bindings and dust jackets, London: Collins(62)
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