![[PATMORE, Coventry (1823-96)]. The Unknown Eros and Other Odes, London, 1877, 8vo, original buckram (faded), with a one-page](https://cdn.globalauctionplatform.com/9f62f50f-e3e9-488b-bedd-b02f00c8e0e3/9b6613ed-3b12-4e7f-9633-b03000b1242a/468x382.jpg)
[PATMORE, Coventry (1823-96)]. The Unknown Eros and Other Odes, London, 1877, 8vo, original buckram (faded), with a one-page autograph letter from the author tipped-in at the front, old bookplate of Anthony Eden. With 5 other books by Patmore. (6)[PATMORE, Coventry (1823-96)]. The Unknown Eros and Other Odes. Odes I. - XXXI. London: George Bell and Sons, 1877. 8vo (190 x 145mm). Half title (single spot to half title and title, not affecting letters, some very light marginal spotting and staining). Original tan buckram, the covers ruled in blind, spine label (wide strip faded at the head of the upper cover, some other fading, some minor erosion to the head and foot of spine, label lightly rubbed). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate); Richard Garnett (old signature on title). FIRST EDITION of this collection of odes which includes, arguably, the author's most famous poem "The Toys" (Ode XI). Tipped-in at the front is a one-page autograph letter from the author, headed "Hastings Sept. 19, 1877," stating, "Sir, In reply to your request I beg to say that you are at liberty to print the three odes you mention in your proposed selection, and to affix my name to them, I am, Sir, Yours faithfully, C. Patmore." The letter's recipient ("Mr D. Adams"), whose identity we have been unable to establish, is added at the foot of the letter. The signature on the title page is almost certainly that of Richard Garnett (1805-1906), biographer and poet, who edited Coventry Patmore's Florilegium Amantis in 1879. "The Unknown Eros (1877) was received with much less enthusiasm than his earlier work. It contains odes marked by an erotic mysticism, but also some more autobiographical pieces (now the most anthologised), including 'The Azalea', 'Departure', 'A Farewell', directly inspired by Emily's [his first wife's] illness and death, and 'The Toys', inspired by a moment of anger and grief aroused by one of his sons" (The Oxford Companion to English Literature, ed. M. Drabble, 1985). With 5 other books by the same author, namely The Angel in the House. The Betrothal and [The Espousals] (London, 1854-56, Books I - II bound in 2 vols.), Faithful for Ever (London, 1860), The Victories of Love (London, 1863, the bookplate [accidentally] pasted in upside down at the end) and The Rod, the Root, and the Flower (London, 1895), all FIRST EDITIONS attractively bound in uniform full red morocco gilt by Roger de Coverly & Sons, each with Anthony Eden's old armorial bookplate. (6)
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AUSTEN, Jane (1775-1817). The Novels, Oxford, 1923, 5 volumes, large 8vo, coloured frontispieces, original buckram-backed boards. ONE OF 1,000 SETS. (5)AUSTEN, Jane (1775-1817). The Novels. The Text based on Collation of the Early Editions by R. W. Chapman. Oxford: At the Clarendon Press, 1923. 5 volumes, large 8vo (225 x 145mm). Half titles, coloured frontispieces, frontispiece to "Mansfield Park" with flap, folding map at the end of "Sense and Sensibility", plates. Original blue-grey buckram-backed marbled boards, printed spine labels, uncut (some staining to labels). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate); loosely-inserted is a 2-page autograph letter, in pencil, on paper headed "Nawton Tower, Nawton, Yorkshire," [undated], stating, "Darling, well here I am marooned in the snow ...", possibly to Anthony Eden from his first wife Beatrice (indistinctly signed). ONE OF 1,000 SETS. (5)
NELSON, Horatio (1758-1805) - The Letters of Lord Nelson to Lady Hamilton, London, 1814, 2 vols., 8vo, contemporary half morocco gilt. FIRST EDITION. With 5 other works of related interest in 12 vols. (14)NELSON, Horatio, 1st Viscount Nelson (1758-1805) - The Letters of Lord Nelson to Lady Hamilton; with a Supplement of Interesting Letters, by Distinguished Characters. London: For Thomas Lovewell & Co., 1814. 2 volumes, 8vo (207 x 130mm). Half titles (occasional light spotting). Contemporary dark blue half morocco and marbled boards, spines lettered and decorated in gilt (boards and extremities of spines rubbed). FIRST EDITION. With another copy, the two volumes bound in one, in original or contemporary cloth, and with old signature of "[?]August. [?]B. Hamilton" on the titles [see illustrations] (head of title of first vol. torn away with loss of one word), and with an unusual bookplate with "Nelson" printed beneath an engraved profile portrait; together with Nicholas Harris Nicolas's The Dispatches and Letters of Vice Admiral Lord Viscount Nelson (London, 1845, 7 vols., 8vo, engraved portrait, original cloth, some modern repairs), The Collection of Autograph Letters and Historical Documents formed by Alfred Morrison (Second Series, 1882-1893) ([London], "Printed for Private Circulation", 1893-94, 2 vols., 4to, original hessian-backed paper boards), The Barker Collection. Manuscripts of and relating to Admiral Lord Nelson briefly noted by Sir John Knox Laughton, Knight, with Three Facsimiles ([London], 1913, 4to, 3 folding plates, original tan-morocco green cloth boards) and Warren R. Dawson's The Nelson Collection at Lloyd's (London, 1932, 4to, original armorial cloth, remnants of dust-jacket). (14)
GAUSS, Carl Friedrich (1777-1855) & Wilhelm Eduard WEBER (1804-91). Resultate aus den Beobachtungen des magnetischen Vereins im Jahre 1836, Göttingen, 1837, [?Volume One only (of 6)], 8vo, 10 folding engraved plates, boards, modern box. FIRST EDITION.GAUSS, Carl Friedrich (1777-1855) & Wilhelm Eduard WEBER (1804-91). Resultate aus den Beobachtungen des magnetischen Vereins im Jahre 1836. Göttingen: im Verlage der Dieterichschen Buchhandlung, 1837. [?Volume One only (of 6)], 8vo (220 x 137mm). Tables, 10 folding engraved plates (title torn without loss of letters at lower margin and repaired on verso, variable spotting, staining and browning throughout, one plate browned). Original or contemporary paper boards, original blue printed label on spine, partly overlaid by old manuscript label, partly unopened, uncut (lightly rubbed, bumped), modern green cloth book box. Provenance: From the Collection of Peter and Margarethe Braune. FIRST EDITION of this pioneering work on terrestrial magnetism, whose discoveries led to the construction of the first electric telegraph line. "Gauss and Weber organized the Magnetische Verein, which united a worldwide network of observatories. Its Resultate appeared in six volumes (1836 [?but 1837]-1841) [only the first present here] and included fifteen papers by Gauss [and] twenty-three by Weber ..." (DSB). Dibner Heralds p.33; cf. Norman 833: "Gauss and Weber united a worldwide network of magnetic observatories and established an important precedent for international scientific cooperation"; cf. Poggendorff I, 854; Ronalds Catalogue of Books and Papers Relating to Electricity, Magnetism, etc. p.195.
MOUNTBATTEN, Louis (1900-79). Report to the Combined Chiefs of Staff by the Supreme Allied Commander South-East Asia 1943-1945, London, 1951, 4to, buckram, wrappers bound in. A HIGHLY IMPORTANT PRESENTATION COPY, inscribed by Mountbatten to Eden.MOUNTBATTEN, Louis, 1st Earl of Burma (1900-79). Report to the Combined Chiefs of Staff by the Supreme Allied Commander South-East Asia 1943-1945. London: His Majesty's Stationery Office, 1951. 4to (274 x 215mm). Full-page maps, many printed in colours, charts. Contemporary cream buckram [?for Anthony Eden], spine with tan morocco lettering-piece gilt, top edges gilt, others uncut (some light staining and ink-spotting), original coloured printed wrappers bound in. Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION, A HIGHLY IMPORTANT PRESENTATION COPY, the verso of the upper wrapper, facing the title page, poignantly inscribed, "To Anthony, in memory of his very gallant son, from Dickie." 'Dickie' was Louis Mountbatten's nickname among his family and closest friends. Anthony Eden's son referred to in the inscription, his oldest, was Simon Gascoigne Eden (1924-45) who served as a navigator with the 62nd Squadron of the Royal Air Force in Burma in June 1945 where he went missing in action. He was declared dead on June 23 of the same year.
WINE - Charles Walter BERRY. In Search of Wine, London, 1935, original red buckram. FIRST EDITION, PRESENTATION COPY, inscribed to Anthony Eden. With 6 other books of related interest including 3 PRESENTATION COPIES inscribed to Anthony Eden. (7)WINE - Charles Walter BERRY (dates unknown). In Search of Wine. A Tour of the Vineyards of France. With a thought to Bacchus in particular and a Humble Recognition of the Wisdom of Others. London: Constable & Co Ltd., 1935. 8vo (195 x 130mm). Half title, large folding map of "The Wine Districts of France" at the end. Original red buckram, spine lettered in gilt (spine faded, without a dust-jacket). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate). FIRST EDITION, PRESENTATION COPY, the front free endpaper inscribed, "To Captain The Rt. Hon. R. Anthony Eden ... with the compliments & respect of the author, who when he read your kind letter of appreciation felt that all the work entailed (mentally & physically) was amply justified - + more so. Charles Berry. Flow Wine! Smile Woman! And the Universe is consoled!! 3.XII.35." With 6 other books of related interest including the same author's Viniana (London, "reprinted 1934", 8vo, original red buckram, PRESENTATION COPY, the front free endpaper inscribed, "To The Rt. Hon. R. Anthony Eden ... with the author's thanks for the privilege. The old proverb says, An apple a day keeps the doctor away (to which the author would wish to add) for a day. But a glass of good wine for a very long time, so they say. Charles Berry, 8/11/36"), the same author's Tokay (London, Berry Bros. & Co., [n.d.], original buckram-backed boards, with a typed compliment slip from Mr Anthony Berry pasted to the front free endpaper, addressed to Anthony Eden, dated 28.5.76, stating, "I thought that you would like to have a bottle of the Tokay Essence following our telephone conversation last week and this is therefore being sent to you under separate cover. However, I am enclosing a copy of my uncle, Charles Walter Berry's booklet, which he wrote before the War. Please accept the bottle with the best wishes of us all here. Enc.") and Hugh R. Rudd's Hocks and Moselles (London, 1935, original cloth, FIRST EDITION, PRESENTATION COPY, with an inscription by the author to Anthony Eden including a biblical 'quote' ("... 'He restored the chief butler unto his butlership again ... But he hanged the chief baker.' Genesis XL. 21")). Provenance: Anthony Eden (five of the books with his old armorial bookplate). (7)
WAUGH, Evelyn (1903-66). Scoop, London, 1939, 8vo, original cloth, dust-jacket (torn at corners with some loss). FIRST EDITION, in the dust-jacket without the 'Daily Beast' masthead.WAUGH, Evelyn (1903-66). Scoop. A Novel about Journalists. London: Chapman & Hall Ltd., 1938. 8vo (186 x 125mm). Half title, one-page publisher's advertisement at the end. Original red and black patterned cloth, dust-jacket with price of 7s.6d. unclipped (the jacket torn at corners with loss, a few other tears without loss, edges rubbed and creased, lower turn in adhering to cloth at edge, some light staining). FIRST EDITION, with the raised '8' in the publication date on the verso of the title and 'as' in the last line of p.88, and in the dust-jacket without the 'Daily Beast' masthead. According to some sources, Lord Beaverbrook insisted on the removal of the masthead in early printings of the jacket since its gothic-style font was similar to that of 'The Daily Express', a newspaper which was clearly a target of Waugh's satire. Another version - less intriguing, but perhaps more plausible - was that the masthead was removed simply because it detracted from the prominence of the book's title on the wrapper. See Hartley Moorhouse's article 'Bibliographical Confusion Surrounding the First U.K. Edition of Scoop' in Evelyn Waugh Studies (Vol. 52, no. 3, Winter 2021) for a detailed, but not altogether conclusive, discussion of 'states' and 'issue points' relating to the book and its jacket.
ELIOT, T. S. (1888-1965). The Literature of Politics. A Lecture ... With a Foreword by the Rt. Hon. Sir Anthony Eden K.G., M.C., M.P., [London], 1955, 8vo, original stiff blue wrappers. FIRST EDITION, SIGNED BY THE AUTHOR. With 2 other books by Eliot. (3)ELIOT, T. S. (1888-1965). The Literature of Politics. A Lecture Delivered at a C.P.C. Literary Luncheon ... With a Foreword by The Rt. Hon. Sir Anthony Eden K.G., M.C., M.P. [London:] Conservative Political Centre, 1955. 8vo (185 x 125mm). Half title, blue typographical ornaments. Original stiff blue printed wrappers. Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION, SIGNED BY THE AUTHOR on the title page, with Eliot's printed name scored through. It is not known whether Eliot signed this copy for Anthony Eden, but it seems likely. Eden's printed foreword to the work states: "It was enterprising of our Conservative Political Centre, and in keeping with its highly successful approach to politics, to have cast Mr. Eliot in an unfamiliar role and now to have reproduced, for the instruction and delight of a wider audience, his very stimulating lecture." Gallup A67a. With 2 others by the same author, namely Poems 1909-1925 (London, Faber & Gwyer Ltd., 1925, 8vo, original dark blue buckram, with Anthony Eden's old armorial bookplate) and Points of View (London, 1941, 8vo, original light blue cloth, SIGNED by Anthony Eden, with his sparse pencil highlighting). (3)
LOCKHART, Robert Hamilton Bruce (1887-1970). Jan Masaryk. A Personal Memoir, London, The Dropmore Press, 1951, 4to, plate, original buckram gilt. FIRST EDITION, NUMBER 152 OF 500 COPIES, PRESENTATION COPY, inscribed to Anthony Eden.LOCKART, Robert Hamilton Bruce (1887-1970). Jan Masaryk. A Personal Memoir. London: The Dropmore Press, 1951. 4to (253 x 190mm). Half title, title printed in blue and black, chapter headings printed in blue, one full-page illustration of the obverse and tail of a commemorative medallion of Jan Masaryk. Original blue buckram with the obverse of the medallion stamped in gilt on the upper cover, an armorial motif stamped on the lower, the spine lettered in gilt, top edges gilt, others uncut. Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION of this memoir of Jan Masaryk, Czech diplomat and politician who served as Foreign Minister of Czechoslovakia from 1940-1948. NUMBER 152 OF 500 COPIES, PRESENTATION COPY, the limitation leaf inscribed, "Anthony Eden, in memoriam [i.e. of Jan Masaryk], R. H. Bruce Lockhart, London, 12 April, 1951."
BOCK, Carl (1849-1932). The Head-Hunters of Borneo, London, 1881, large 8vo, folding map, 30 lithographed plates, of which 28 coloured, illustrations (some staining), original coloured pictorial cloth gilt (partly disbound). FIRST EDITION.BOCK, Carl Alfred (1849-1932). The Head-Hunters of Borneo: A Narrative of Travel up the Mahakkam and Down the Barito; Also, Journeying in Sumatra. London: Sampson Low, Marston, Searle, & Rivington, 1881. Large 8vo (262 x 180mm). Half title, folding engraved map of South East Borneo printed in colours, 30 lithographed plates by C. F. Kell after the author, of which 28 coloured, illustrations, tables (map and many plates and text leaves detached or loose, some mainly marginal spotting, staining and browning). Original pictorial cloth gilt, uncut, brown endpapers (rubbed, upper joints split at head, scuffed and stained, partly disbound). Provenance: From the Collection of the late Seymour Stein (1942-2023); "War Office Library"; "Quarter M[aster] G[eneral]'s Dept. Intelligence Branch" (2 stamps on title, with "Ministry of Defence. Withdrawn from Stock" stamp over the former). FIRST EDITION. Bobins The Exotic and the Beautiful 282.
![GRIFFITH, Elizabeth ([?]1727-93). The Morality of Shakespeare's Drama Illustrated, London, 1775, 8vo, engraved portrait fron](https://cdn.globalauctionplatform.com/9f62f50f-e3e9-488b-bedd-b02f00c8e0e3/b7ae4009-bace-453d-a8ce-b03000b62884/468x382.jpg)
GRIFFITH, Elizabeth ([?]1727-93). The Morality of Shakespeare's Drama Illustrated, London, 1775, 8vo, engraved portrait frontispiece of Shakespeare, contemporary calf (worn). FIRST EDITION. With another related work in 2 vols. (3)GRIFFITH, Elizabeth ([?]1727-93). The Morality of Shakespeare's Drama Illustrated. London: Printed for T. Cadell, 1775. 8vo (214 x 125mm). Engraved portrait frontispiece of Shakespeare, woodcut typographical ornament on title, printed dedication to David Garrick, one-page of errata on the verso of the last page of the preface (portrait almost detached, some very light spotting and staining). Contemporary calf, spine gilt (worn, head of spine torn, some erosion to foot of spine, lacking lettering-piece, rubbed). Provenance: Robert Prescott Esq. (old armorial bookplate). FIRST EDITION of this pioneering work of Shakespearean criticism - in part a rebuttal of Voltaire's "single discordant voice" (see the author's Preface) - and, arguably, the first to establish Shakespeare's status as "National Poet." Of particular interest are the author's comments on "King Lear", comparing Shakespeare's original tragedy and Nahum Tate's (now infamous) re-working of it in 1681 which remained the preferred version among audiences and critics even into the first half of the 19th-century. Griffith's printed introduction to the play, on p.351 (preserving her original eccentric punctuation), states: "It may be necessary to many Readers to premise, that the Piece here under consideration, is the Play as originally written by Shakespeare, lest the bearing it in mind as altered by Tate, and generally acted so, might occasion confusion or mistakes, in the following notes and observations. The Critics are divided in their opinions between the original and the altered copy. Some prefer the first, as a more general representation of human life, where fraud too often succeeds, and innocence suffers: others prefer the latter, as a more general description of what life should be ... However, if pity and terror, as the Critics say, are the principal objects of Tragedy, surely no Play that ever was written can possibly answer both these ends better than this [i.e. the original] performance, as it stands in the present text." The author's stance may have been influential in eventually restoring Shakespeare's original play to the stage and to print. RARE. With [Charlotte Lennox's] Shakespear Illustrated: or the Novels and Histories On which the Plays of Shakespear Are Founded, Collected and Translated from the Original Authors. With Critical Remarks. In Two Volumes. By the Author of the Female Quixote (London, 1753, 2 vols., 12mo, contemporary calf, worn, upper cover of vol. one detached. A supplementary third volume, not present here and not called for on the title page of vol. one (where it states "In Two Volumes"), appeared in 1755). (3)
BRIGGS, Raymond (1934-2022). The Snowman, London: Hamish Hamilton, 1978, small folio (300 x 210mm), coloured illustrations by Raymond Briggs, original coloured pictorial paper boards (head and foot of spine lightly bumped). FIRST EDITION.BRIGGS, Raymond (1934-2022, illustrator). The Snowman. London: Hamish Hamilton, 1978. Small folio (300 x 210mm). Coloured illustrations by Raymond Briggs. Original coloured pictorial paper boards lettered in black (head and foot of spine lightly bumped). The book was issued without a dust-jacket. A FINE COPY OF THE FIRST EDITION of what has since become a modern children's classic, told without text entirely through Brigg's charming, and ultimately poignant, illustrations. It was further popularised by the animated film which has been a regular staple of Christmas television viewing since it was first broadcast in 1982.
LOCKHART, Robert Hamilton Bruce (1887-1970). Comes the Reckoning, London, 1947, 8vo, original cloth. PRESENTATION COPY, inscribed, "To Anthony, from Bruce, in gratitude and admiration, R. H. Bruce Lockhart." With 7 other related books. (8)LOCKHART, Robert Hamilton Bruce (1887-1970). Comes the Reckoning. London: Putnam, 1947. 8vo (216 x 140mm). Half title (one leaf torn without significant loss, some marginal staining). Original dark blue cloth, the spine lettered in gilt (light stain to lower cover, without a dust-jacket). Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION, PRESENTATION COPY, the title page inscribed, "To Anthony, from Bruce, in gratitude and admiration, R. H. Bruce Lockhart, London, 7 November, 1947." With 7 other related books, including 5 by the same author, all PRESENTATION COPIES, namely, Retreat from Glory (London, 1943, 8vo, original cloth, reprint, inscribed, "[?]Mrs Eden, with the author's best wishes, R. H. Bruce Lockhart, London, July 6, 1944"), My Europe (London, 1952, 8vo, original cloth, inscribed, "For Anthony Eden, in memory of my Danish birthday, R. H. Bruce Lockhart"), Your England (London, 1955, 8vo, cloth, inscribed, "For Anthony Eden with affectionate good wishes, R. H. Bruce Lockhart, Edinburgh, 11 July, 1955"; Friends, Foes and Foreigners (London, 1957, 8vo, cloth, inscribed, "For Anthony Eden, in friendship, R. Bruce Lockhart, London, 26th October, 1957"); with Edward Crankshaw's Russia and Britain (London, [c.1944], 8vo, cloth, inscribed not by the author but by R. H. Bruce Lockhart [possibly to Anthony or Clarissa Eden], "This is not a 'projection of Russia' but a reminder of what Britain did to help the Russians since the days when Ivan the Terrible wanted to marry Queen Elizabeth, R. H. Bruce Lockhart, May 11, 1944"; and with Edward Benes. Essays and Reflections on the Occasion of his Sixtieth Birthday [including R. H. Bruce Lockhart's essay "Some Personal Memories" on p.80] (London, 1945, 8vo, extensively inscribed by Bruce Lockhart to Anthony Eden, concluding "... the book was to have appeared in May, 1944, for Benes's sixtieth birthday, but has only just been published. Perhaps it had to be approved by Moscow!"). Following a colourful and varied life in finance, journalism, rugby football and espionage, Robert Hamilton Bruce Lockhart was appointed during World War II as first Chairman, and later Director-General, of the "Political Warfare Executive", the clandestine body set up to co-ordinate British propaganda against the Axis powers, where Eden had also prominently worked from its inception. Later, he would go on to become the British liaison officer to the Czechoslovak government when it was operating in exile from London under President Eduard Benes. (8)
POPE, Alexander (1688-1744). Of the Characters of Women: An Epistle to a Lady, London, 1735, folio, later grey paper boards. FIRST EDITION. With 2 other books. (3)POPE, Alexander (1688-1744). Of the Characters of Women: An Epistle to a Lady. London: Printed by J. Wright, for Lawton Gulliver, 1735. Folio (329 x 210mm). Half title, woodcut ornament on title and on final page, advertisement with head- and tail-piece, initial, 16-pages (lacks advertisements at the end, half title lightly stained and torn at gutter, spot in title, some light staining throughout). Later grey paper boards, older morocco lettering-piece on spine (some wear to head and foot of spine, corners rubbed, lightly scuffed and stained). Provenance: "[?]From K, Christmas 1919" (pencil inscription on front pastedown). FIRST EDITION of this epistle which is addressed to Pope's sometime mistress, Martha Blount. The Advertisement states, "The Author being very sensible how particular a Tenderness is due to the Female Sex, and at the same time how little they generally show to each other; declares, upon his Honour, that no one Character is drawn from the Life, in this Epistle. It would otherwise be most improperly inscribed to a Lady, who, of all the Women he knows, is the last that would be entertain'd at the Expence [sic] of Another". Foxon P917; Griffith 361. With [Thomas Hallie Delamayne's] The Senators: or, A Candid Examination into the Merits of the Principal Performers of St. Stephen's Chapel (London, G. Kearsly, 1772, lacks half title, engraved vignette on title, contemporary half calf and marbled boards, upper cover detached, FIRST EDITION) and [William Combe's] The Diaboliad, a Poem Dedicated to the Worst Man in His Majesty's Dominion's (London, "MCCLXXVII" [i.e. 1777], blank names filled in by a contemporary hand, contemporary half calf and marbled boards, FIRST EDITION of this infamous anonymously published satire directed at Simon Luttrell, Lord Irnham, also known as the "King of Hell"). (3)
DOVES PRESS - William SHAKESPEARE (1564-1616). The Tragedy of Julius Caesar, Hammersmith, The Doves Press, 1913, 4to (233 x 165mm), printed in red and black, contemporary dark blue morocco gilt by the Doves Bindery. ONE OF 200 COPIES ON PAPER.DOVES PRESS - William Shakespeare (1564-1616). The Tragedie of Julius Caesar. Hammersmith [London]: The Doves Press, 1913. 4to (233 x 165mm). Printed in red and black throughout, 4-pages of errata at the end. Contemporary (1921) dark blue crushed morocco by Thomas James Cobden-Sanderson at the Doves Bindery, the upper cover lettered in gilt with a small foliate device stamped in gilt beneath the title, both covers with 2 single gilt fillet borders and an inner border of interlacing double gilt fillets, gilt edges (joints, corners and top and bottom of spine rubbed). The binding is stamped in gilt on the rear turn-in "The Doves Bindery 19 C-S 21". Provenance: Loosely-inserted is an autograph letter, dated "10/iii", stating, "My dear Wilfred, For some time I have been looking for something which you might like, to give to you more or less to 'commemorate' your recent promotion. Perhaps this is it. I hope that it will give you pleasure and turn you away from office papers once is a while. [?]Baby." We have been unable to identify the writer of the letter or its recipient. LIMITED TO 212 COPIES, THIS ONE OF 200 COPIES ON PAPER. The colophon states: "Printed by T. J. Cobden-Sanderson at The Doves Press, 15 Upper Mall, Hammersmith, from the Text of the First Folio, first imprinted in 1623, with only such corrections of the Text as are set out opposite [i.e. in the errata]. 200 copies on paper and 12 on vellum. Compositor: William Jenkins. Press-men: H. Gage Cole and Albert Lewis." "Cobden-Sanderson was sixty when he entered into partnership with Emery Walker in founding the Doves Press. Between them ... they evolved a type of superb beauty. Though also based on Jenson, it was somewhat lighter than Morris's Golden Type, a factor that enabled them to use hand-made paper that was less bulky and more suitable for book work. With this type they printed books of austere but great beauty. In contrast to the lavish black ornament of the Kelmscott Press there was no decoration unless one counts an occasional coloured, though undecorated, initial. They relied on faultless presswork, the beauty of the type and the perfect design and balance of their pages" (Thomas Great Books and Book Collectors (1975), p.221). Ransom Private Presses and their Books 36; Tidcombe The Doves Press 32; Tomkinson A Select Bibliography of the Principal Modern Presses p.57.
SOLVYNS, Frans Balthazar (1760-1824). The Costume of Hindostan, London, 1804, folio, text in English and French, 60 hand-coloured aquatint plates, contemporary red half roan (rubbed). FIRST EUROPEAN EDITION.SOLVYNS, Frans Balthazar (1760-1824). The Costume of Hindostan, elucidated by Sixty Coloured Engravings; with Descriptions in English and French, taken in the Years 1798 and 1799. London: Published by George Orme, 1804. Folio (360 x 255mm). Text in English and French, 60 hand-coloured aquatint plates by Scott or T. Vivares after Solvyns (the preface and first plate heavily spotted, some other lighter spotting and staining but plates generally clean, plates offset onto text). 19th-century half red roan gilt, marbled endpapers (heavily rubbed in patches, some staining, bumped). Provenance: From the Collection of the late Seymour Stein (1942-2023); leaf with [?]stamped coat-of-arms and inscription relating to a Leipzig museum dated 1966 inserted at the front. FIRST EUROPEAN EDITION. "The genesis of the book is a series of Two hundred and Fifty Drawings descriptive of the manners, customs, and dresses of the Hindoos, by B. Solvyns, the originals of which are in the National Art Library. These were published at Calcutta with the above title in 1799, the plates being etched, and coloured by hand, and a separate catalogue being issued with descriptive text. From Solvyns' drawings W. Orme ... made a set of sixty water-colour copies (also in the National Art Library), infinitely better drawn than the originals; and Orme's drawings are the originals of the plates in The Costume of Hindostan, in which Solvyns appears as the artist without any acknowledgement being made of the Calcutta publications. The plates are in stipple, and seem to be all by Scott with the exception of four very poor ones by T. Vivares" (Hardie). Abbey Travel 429; Brunet IV, 305; Colas 2765; Hardie English Coloured Books p.132.
FREEMAN, Douglas Southall (1886-1953). George Washington, New York, 1948-51, volumes I-IV only (of VI), original cloth. FIRST EDITION, PRESENTATION COPY, inscribed by the author to Anthony Eden. With 2 other works by the same author in 6 vols. (10)FREEMAN, Douglas Southall (1886-1953). George Washington. A Biography. New York: Charles Scribner's Sons, 1948-51. Volumes I - IV only (of VI), large 8vo (231 x 155mm). Half titles, half tone plates, maps. Original dark blue cloth gilt, map endpapers (without slipcases). Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION, with 'A' on the copyright page of each volume, of the work for which the author won his second (posthumous) Pulitzer Prize in 1958. After the fifth and sixth volumes (not present here), a seventh, written by John Alexander Carroll and Mary Wells Ashworth, but based substantially on Freeman's research and notes, was published in 1957. PRESENTATION COPY, the half title of the first volume inscribed, "Autographed for The Right Honorable Anthony Eden in admiring gratitude for his service in advancing those interests of English-speaking peoples that Washington revered. Douglas Southall Freeman, July, 1950." It is clear, from the date of the inscription, that the author presented Anthony Eden with the first four volumes only (the fourth volume dated 1951 presumably being first issued in 1950), as are present here. Loosely-inserted in the second volume is a clipping from the Swindon Advertiser (Oct. 12th, 1959) featuring an opinionated and amusing letter relating to Anthony Eden and the Suez Crisis from one G. Rogers, marked [?by Eden] with two pencil crosses. With the same author's R. E. Lee. A Biography (New York, 1937, 4 vols., large 8vo, original red cloth, a reprint of the work for which the author won his first Pulitzer Prize in 1935, old armorial bookplate of Anthony Eden) and Lee's Lieutenants. A Study in Command (New York, 1942-43, 2 vols., original black cloth, FIRST EDITION, with Anthony Eden's modern armorial bookplate loosely-inserted). (10)
MACKENZIE KING, William Lyon (1874-1950, Prime Minister of Canada from 1935-48, and before). Canada at Britain's Side, Toronto, 1941, 8vo, red buckram. FIRST EDITION, IMPORTANT PRESENTATION COPY, inscribed extensively by the author to Anthony Eden.MACKENZIE KING, William Lyon (1874-1950, Prime Minister of Canada from 1935-48, and before). Canada at Britain's Side. Toronto: The Macmillan Company of Canada Limited, 1941. 8vo (219 x 135mm). Half title, half tone frontispiece portrait. Original red buckram, spine lettered in gilt (spine and top edge of upper cover a little faded, without the dust-jacket). Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION, IMPORTANT PRESENTATION COPY, the front free endpaper inscribed, "To the Right Honourable Anthony Eden, Secretary of State for Foreign Affairs and Leader of the House of Commons in the government of the United Kingdom. With gratitude for the inspiration of his visit to Canada at this time of war, and with every good wish for years of continued service to the cause of justice and freedom throughout the world, from his friend, W. L. Mackenzie King, 'Laurier's House', Ottawa, Canada, April 1st 1943." The publisher's printed note at the beginning of the work concludes: "Canada entered the war as a free and united nation at the side of Britain. Mr Mackenzie King loses no opportunity of emphasizing the determination of the Canadian people to put forth their utmost effort till the hour of victory, and to remain to the end, freely and unitedly, at Britain's side." William Lyon Mackenzie King was the longest serving Prime Minister of Canada, holding that office for three terms from 1921 to 1926, 1926 to 1930 and 1935 to 1948.
LIE, Trygve (1896-1968). In The Cause of Peace. Seven Years with the United Nations, New York, 1954, large 8vo, original cloth. FIRST EDITION, IMPORTANT PRESENTATION COPY, inscribed by the author to Anthony Eden.LIE, Trygve (1896-1968). In the Cause of Peace. Seven Years with the United Nations. New York: The Macmillan Company, 1954. Large 8vo (210 x 140mm). Half title, half tone frontispiece portrait of the author. Original two-tone cloth, spine lettered in white (without the dust-jacket). Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION, IMPORTANT PRESENTATION COPY, the front free endpaper inscribed, "H. E. Mr Anthony Eden. Dear Mr Eden, I hope you or your charming wife will get a chance to read the book. My [?]desire is that it will serve our common ideas and cause, Yours Trygve Lie, [illegible Norwegian place-name], Norway, August 9th, 1954." The author was the Norwegian Foreign Minister during the Norwegian Government's exile in London from 1940-45 and, from 1946 to 1952, the first Secretary-General of the United Nations. On p.11 of the book, the author describes (in print) his relationship with Anthony Eden and the high esteem in which he held him: "During the war I had formed a warm friendship with Anthony Eden. I had known and admired his courageous stand against the prevailing mood of his own Conservative party in the later 1920's, his opposition to appeasement and effort to revitalize the League of Nations and make it a real force for collective security against aggression before it was too late ... Now he was out of office as Foreign Secretary, and I regarded him as an ideal choice for Secretary-General [i.e. of the United Nations]. I am not sure that he would have accepted, but he did not object when I told him I should like to sound out the Labor[sic] Government and Moscow."
![ACCADEMIA DEL CIMENTO - [Lorenzo MAGALOTTI (1637-1712), editor] & others. Saggi di Naturali Esperienze, Florence, 1691, f](https://cdn.globalauctionplatform.com/9f62f50f-e3e9-488b-bedd-b02f00c8e0e3/4f2bee71-91f6-49ff-ad18-b03000b21727/468x382.jpg)
ACCADEMIA DEL CIMENTO - [Lorenzo MAGALOTTI (1637-1712), editor] & others. Saggi di Naturali Esperienze, Florence, 1691, folio, 75 full-page engraved illustrations, contemporary vellum-backed boards. Second edition.ACCADEMIA DEL CIMENTO - [Lorenzo MAGALOTTI (1637-1712), editor] & others. Saggi di Naturali Esperienze fatte nell' Accademia del Cimento sotto la Protezione del Serenissimo Principe Leopoldo di Toscana e Descritte dal Segretario di essa Accademia. Seconda Edizione. Florence: Nella Nuova Stamperia di Gio: Filippo Cecchi, 1691. Folio (351 x 255mm). Half title, title printed in red and black with engraved illustration, engraved portrait of Cosimo III, elaborate woodcut initials, head-pieces and tail-pieces, 75 full-page engraved illustrations (half title and final leaf stained, some light mainly marginal spotting and staining, marginal closed tear to one full-page illustration, some creasing). Contemporary vellum-backed [?]later paper boards, spine with remnants of old lettering-piece, new endpapers. The "Accademia del Cimento" was a scientific society established in Florence in 1657. During its short existence, the Saggi was its only published work. Brunet IV, 163 (citing the first edition of 1666, but mentioning the present edition in the note): "Cet ouvrage estimé ..."; Cinti 163; Dibner Heralds 82; Gamba 853; Krivatsy p.25; Riccardi II, 407; Wellcome III, p.23; Wheeler 196.
ROSSETTI, Donato (1633-86). La Figura della Neve, Turin, 1681, 8vo in 4s, 7 etched illustrations of snowflakes, 3 of which full-page (text ends at [E4] p.40), contemporary calf (rebacked). FIRST EDITION. RARE. Please see the note on completeness below.ROSSETTI, Donato (1633-86). La Figura della Neve. Turin: "Per la Vedova Gianelli, e Domenico Paulino," 1681. 8vo in 4s (179 x 113mm). Half title, woodcut ornament on title, initial, 7 etched illustrations of snowflakes by Donato Rossetti, 3 of which full-page (the final leaf [E4], paginated 40 on the verso, followed by an old blank leaf [see note], some very light mainly marginal staining, some minor worming at gutter of a few leaves, not affecting letters). Contemporary calf (crudely rebacked and rubbed, particularly at the corners, inner hinges split or reinforced). Provenance: Marchesa di Ravarolo (old signatures at lower margin of 2 pages); remnants of old manuscript library labels on front and rear pastedowns; later pencil annotation on the front blank stating [?erroneously] "lacks last leaf ...". FIRST EDITION of this pioneering study of snowflakes which was the first to represent them as hexagonal platelet crystals. The work built on the earlier and inconclusive studies on the same subject undertaken by Kepler and Descartes and took as its model related microscopic investigations of Robert Hooke. The author, a Tuscan natural philosopher, mathematician and canon of Livorno Cathedral, is not listed in the DSB. Like the copy in the "Biblioteca Comunale Labronica", which is collated as ending on [E4] (i.e. p.40) without any suggestion that it is incomplete, the copies in the BL and "The Catalogue of the Books, Manuscripts, Maps and Drawings in the British Museum (Natural History)" also consist of just 40-pages, but are, according to their speculative catalogue entries, "apparently imperfect". Although p.40 in the present copy ends mid-line, and with an apparent semi-colon [illustrated], it has, unlike any other page of text in the book, no catchword, suggesting it is the final page. Since all of the few recorded copies end similarly at p.40, we are reasonably confident, despite its abrupt conclusion, that the book is complete, but our lack of complete certainty compels us to sell it, with regret, not subject to return. RARE.
DUNNE, John William (1866-1949). An Experiment with Time, London, 1927, 8vo, original blue buckram, dust-jacket. FIRST EDITION. RARE, particularly in the dust-jacket.DUNNE, John William (1866-1949). An Experiment with Time. London: A. & C. Black, 1927. 8vo (218 x 140mm). Half title, woodcut printer's device on title, diagrams. Original dark blue buckram, spine lettered and ruled in gilt, tan dust-jacket lettered and ruled in black with printer's device stamped on lower wrapper (small piece torn away from foot of backstrip of jacket without loss of letters, some chipping to head of backstrip and corners, price-clipped). Provenance: some pencil annotation to front free endpaper ("Robert, have you ever encountered this before?"). FIRST EDITION. A note from the publisher, printed in cursive script on the upper wrapper of the dust-jacket, states, "The author's challenge to our present day conceptions of the universe is altogether too weighty to be ignored. It is a very serious and disturbing contribution." J. W. Dunne was "... a pioneer aircraft designer and author of the widely-read An Experiment with Time (1927) and The Serial Universe (1934), in which he outlined a theory of time to account for such phenomena as precognition, previsional dreaming, etc. He quotes in support Wells' The Time Machine, but Wells was to reply that Dunne had taken his concept of 'duration as a dimension of space' too seriously. Dunne's concept proved a useful dramatic device to J. B. Priestley in his 'Time' plays, and is mentioned with interest by G[raham] Greene (who asks if it is possible for novelists to draw their symbols from the future as well as from the past: see Ways of Escape, ch. 3)" (The Oxford Companion to English Literature, ed. M. Drabble, 1985). RARE, particularly in the scarce dust-jacket.
KENNEDY, John Noble (1893-1970). The Business of War, London, 1957, 8vo, original buckram. FIRST EDITION, ANNOTATED AND HIGHLIGHTED IN PENCIL BY ANTHONY EDEN THROUGHOUT.KENNEDY, John Noble (1893-1970). The Business of War. The War Narrative of Major General Sir John Kennedy ... Edited and with a Preface by Bernard Fergusson. London: Hutchinson, 1957. 8vo (228 x 145mm). Half title, 2 folding maps at the end. Original black and red buckram, spine lettered in gilt (spine a little faded, some very faint white staining, without a dust-jacket). FIRST EDITION, ANNOTATED AND HIGHLIGHTED IN PENCIL BY ANTHONY EDEN THROUGHOUT, often in very direct terms. For example, on p.xiii of Ferguson's preface (commenting on his [Ferguson's] views on the decision 'to go into Greece'), Eden writes: "Nonsense. [John Greer] Dill & [Archibald Percival] Wavell both favoured it ..."; on p. xvi: "W. [Winston] believed it right to go to Greece. Kennedy with less knowledge did not"; on p.2 (commenting on the printed passage 'Yet again, if we in the General Staff had had our way before the war, we should probably have had sixteen or seventeen divisions committed in France before the end of 1939'): "They never asked for anything like it & I had singularly little support from Chiefs of Staff under Chatfield"; on p.4 (commenting on Leslie Hore-Belisha, Secretary of State for War): "Dill thought very ill of him"; on p.6 (commenting on Dill's reaction to Hore-Belisha's memorandum regarding "re-equipment" of the army): "He said he thought it would wreck my chance of talks with Germany. I told him it would [?]widen them"; on p.25: "Note for my book" [probably The Memoirs, published between 1960 and 1965]; on p.28 (commenting on the passage 'the whole matter of air policy vis-à-vis the Army was in a mess'): "A comment on Nevill [Chamberlain] & [Thomas] Inskip"; on p.81: "Wrong again"; on p.88 (the context unclear): "Did Donovan not tell him that he strongly favoured our help to Greece - for he certainly did"; on p.102 (commenting on the author's views on Cyrenaica and Greece): "This is all paper war by an armchair general"; on p.119 (on Wavell's reported comment that 'we could not hold the Middle East'): "Typical defeatist stuff"; on p.124 (commenting on the printed passage 'The German attack on Russia was still a month away, and we were wholly unaware that it was pending'): "Surely not. W. [Winston] had warned Russia by then"; on p.129 (commenting on the printed passage 'it now became apparent that the Germans were about to repeat the mistake, which they had made once before, of failing to concentrate on one objective for long enough to get decisive results'): "Yes but what part had our intervention in Greece had in this decision of Hitler's[?]. Yugoslavia's coup d'etat - not even noted in this book - had infuriated him. So had Russia's recognition of the new Govt. This had been his first setback. You cannot treat those things in isolation"; on p.157: "All this ignores simple fact. Only place [sic] in which we could defeat Germans was Middle East - Dill knew this: that was why he advocated with me sending forces out there in 1940"; on p.196 (commenting on the passage 'British tanks in the desert were still outgunned and outranged by the German tanks'): "Because the army had refused to settle on a tank before the war. They rejected my suggestion that they accept [?]'Class B'"; and on p.215 (commenting on the occupation of Madagascar): "This is not a full account. The Chiefs of Staff opposed the operation very late in the day purely on political grounds. W. sent for me from F.O. We over-ruled their objections. If the operation had gone wrong, we should certainly have heard plenty about it in books like this." A few pencil annotations appear to be in a different hand from Eden's, possibly secretarial: these are not recorded above.
LACE - Augusta Godin, Baronne LIEDTS (1850-85). Anciennes Dentelles Belges, Anvers, 1889, folio, 185 phototype plates of lace, contemporary dark blue half morocco. FIRST EDITION.LACE - Augusta Godin, Baronne LIEDTS (1850-85). Anciennes Dentelles Belges, formant la Collection de Feue Madame Augusta Bnne. Liedts, et donnée au Musée de Gruuthuus à Bruges. Anvers: Phototypies Jos. Maes, 1889 [but dedication leaf dated 1890]. Folio (555 x 365mm). Title and dedication leaf printed in red and black, portrait of Augusta Godin Liedts, 185 "phototype" plates of lace including 35 supplementary plates at the end (title and dedication leaf lightly stained and spotted, some light mainly marginal staining to plates). Contemporary dark blue half morocco gilt, spine with 6 raised bands and lettered in gilt, top edges gilt, others uncut (rubbed). Provenance: from the Collection of the late Professor Bernard Nevill (1930-2019). FIRST EDITION of this monumental catalogue of Baronne Liedts' renowned collection of lace which, following her untimely death, was donated by her husband to the city of Bruges where it remains to this day on display at the Gruuthusemuseum. Cf. Siegelaub Bibliographia textilia historiæ p.209; Whiting A Lace Guide for Makers and Collectors ... Bibliography 1073. RARE.
TIMKOWSKI, Egor Fedorovitch (1790-1975). Travels of the Russian Mission through Mongolia to China, London,1827, 2 volumes, 8vo, frontispiece, folding map, plan of Peking, old half calf. FIRST U.K. EDITION. With 2 other related works in 3 vols. (5)TIMKOWSKI, Egor Fedorovitch (1790-1975). Travels of the Russian Mission through Mongolia to China, and Residence in Peking, in the Years 1820-1821 ... With Corrections and Notes by Julius Klaproth, translated by H. E. Lloyd. London: Printed for Longman, Rees, Orme, Brown, and Green, 1827. 2 volumes, 8vo (214 x 135mm). Lithographed frontispiece, large folding "Map of the Route from Kiakhta to Peking, through Mongolia", folding plan of Peking. Contemporary half calf and marbled boards, spines gilt with black morocco lettering-pieces (heavily rubbed and scuffed). Provenance: "Ministry of Defence. Withdrawn" (stamps on front free endpapers, title, map of Peking and at margin of one text leaf; library labels at foot of spines with library numbers written in white ink on corner of upper covers). FIRST U.K. EDITION. Brunet IV, 483; Löwendahl 859; Lust 550. With 2 other related works in 3 vols., namely Frederick E. Forbes' Five Years in China; from 1842 to 1847. With an Account of the Occupation of the Islands of Labuan and Borneo by Her Majesty's Forces (London, 1848, 8vo, fine coloured lithographed frontispiece of "The Empress of China", illustrations, original mustard yellow cloth, FIRST EDITION, ex-library copy, with the same provenance and similar related condition issues as with the first named item) and Sven Hedin's Trans-Himalaya. Discoveries and Adventures in Tibet (London, 1909, 2 vols., plates, attractively-bound in contemporary blue full prize calf gilt, FIRST EDITION). Provenance: From the Collection of the late Seymour Stein (1942-2023). (5)
LAPIE, Pierre-Olivier (1901-94). Certitudes Anglaises, Paris, 1938, wrappers. FIRST EDITION, PRESENTATION COPY, inscribed, "à Monsieur Anthony Eden, [illegible words] Ministre des Affaires [illegible words], hommage [illegible word], P. O. Lapie".LAPIE, Pierre-Olivier (1901-94). Préoccupations de Notre Temps. Certitudes Anglaises. Paris: Éditions Rieder, 1938. Small 4to (190 x 142mm). Half title (some light browning). Original blue and white wrappers lettered in black, unopened (some light staining). Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION, PRESENTATION COPY, the half title inscribed, "à Monsieur Anthony Eden, [illegible words] Ministre des Affaires Etrangère, hommage [illegible word], P. O. Lapie". The author was a French lawyer, politician, writer and freedom fighter who took part in the ill-fated Norwegian campaign in 1940 before joining Charles de Gaulle's "Free France" in London.
NONESUCH PRESS - HOMER (fl. 9TH- or 8TH-CENTURY B.C.E.). The Iliad, London, 1931, small folio, ornaments, original niger morocco. ONE OF 1,450 COPIES. With Francis Meynell's rare printed note relating to this edition loosely-inserted.NONESUCH PRESS - HOMER (fl. 9TH- or 8TH-CENTURY B.C.E.). The Iliad, translated by Alexander Pope. [London:] The Nonesuch Press, 1931. Small folio (267 x 155mm). Printed in red and black, ornaments by Rudolf Koch. Original niger morocco gilt, spine with 5 raised bands, top edges gilt, others uncut, marbled endpapers (inner hinges inconspicuously reinforced, lacks slipcase). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate). NUMBER 713 OF 1,450 COPIES. Loosely-inserted is Francis Meynell's rare note relating to this edition, printed on a single sheet, headed: "On First Looking into Pope's Homer". Sometimes The Iliad is sold with the uniform Nonesuch edition of The Odyssey, but the latter is not included here. Dreyfus 72; Nonesuch Century 72.
![RAILWAYS - Raphael Tuck (pub.). "Plate I. A Train of the First Class ... Plate II. A Train of the Second Class." [And:] "Plat](https://cdn.globalauctionplatform.com/9f62f50f-e3e9-488b-bedd-b02f00c8e0e3/7a570168-9940-45ef-92c0-b03000b6f64a/468x382.jpg)
RAILWAYS - Raphael Tuck (pub.). "Plate I. A Train of the First Class ... Plate II. A Train of the Second Class." [And:] "Plate III. A Train of Waggons ... Plate IV. A Train ... with Cattle." London, 1894, 2 coloured lithographs, 252 x 660mm., laid down.RAILWAYS - Raphael Tuck & Sons (publisher). "Plate I. A Train of the First Class of Carriages with the Mail. Plate II. (below) A Train of the Second Class for outside Passengers - with three Third Class Carriages behind." [And:] "Plate III. A Train of Waggons[sic] with Goods, &c. &c. - Plate IV. (below) A Train of Carriages with Cattle." London: Raphael Tuck & Sons, 1893. 2 coloured lithographs, each with 2 "plates" (some staining), each 252 x 660mm., both laid down on modern boards. (2)
FLEMING, Ian (1908-64). On Her Majesty's Secret Service, London, 1963, 8vo, original dark brown cloth, dust-jacket. FIRST EDITION. With the same author's You Only Live Twice (London, 1964, 8vo, cloth, dust-jacket, FIRST EDITION). (2)FLEMING, Ian (1908-64). On Her Majesty's Secret Service. London: Jonathan Cape, 1963. 8vo (189 x 125mm). Half title. Original dark brown cloth, the upper cover with ski tracks in white, the spine lettered in silver with publisher's motif at foot, dust-jacket by Richard Chopping with price of 16s. unclipped (backstrip of jacket lightly browned with chips at head, some light spotting at edges of wrappers). FIRST EDITION. Gilbert A11. With the same author's You Only Live Twice (London, 1964, original black cloth, dust-jacket, FIRST EDITION). (2)
An impressive 18th century brass-bound ebony quarter-repeating table clock with moonphaseClaude Duchesne, LondonThe case surmounted by an inverted caddy top with central finial over a silk-backed pierced soundfret framed by four further finials over an elaborately moulded cornice raised on brass-mounted Tuscan three-quarter columns to each corner framing the long shaped pierced brass-framed sound frets backed in silk to each side, the front and rear doors with similar brass frames, all on a multi-layered moulded base bound in brass to the top and bottom, on substantial brass bun feet. The 8-inch arched brass dial with rare 'Chronos' spandrels depicting a bearded Father Time below a sandglass and pair of wings, framing the silvered Roman and Arabic chapter ring with lozenge half-quarter marks and fleur des lys half-hour markers signed Claudius DuChesne Londini between V and VII, the finely matted centre with ringed winding holes, chamfered and engraved calendar and mock pendulum apertures under intricately pierced blued steel hands, the arch decorated with foliate scrolls and a pair of birds within strapwork enclosing a strike/not strike lever, moonphase (the outer scale marked 1-59) and aperture for setting the phase of the moon. The twin gut fusee movement with five knopped pillars and knife-edge verge escapement, the backplate with extensive floral and strapwork engraving, a partridge in the centre and a beast mask below, framed by a stylised wheatear border. Ticking, striking and repeating with a door key and a winding key. 73cms (28.5ins) highFootnotes:Claude Duchesne was seemingly born around 1670. It is commonly accepted that he lived in Paris, until just after the Revocation of the Edict of Nantes in 1685, at which point he joined many other Huguenot refugees and fled to the U.K. It is uncertain exactly when he arrived, with some putting it as early as 1689. The first concrete evidence of his life in the U.K. is from 1693; not only was he made free of the Clockmaker's Company in this year, he also married Elizabeth Bossu in Stepney. The couple would have at least three children; Claudius, born in 1699, Elizabeth born in 1706, and Anthony, born in 1708, though there are some contemporary reports of the couple having five children at one point. Claudius would eventually become a weaver, and Anthony would become a goldsmith. It is not known what became of Elizabeth. Duchesne became a British citizen in 1711. Duchesne was known to sign his clocks as either 'Claude' or 'Claudius' and 'Duchesne' or 'Du Chesne'. The exact location of his shop is questionable; most clocks give a location of either 'Dean Street, Soho' or 'Long Acre', so it seems likely that he was working in Soho. Wherever he worked, Duchesne appears to have been a highly regarded maker, especially in the construction of musical clocks. An account given by Jane Squire in 1731, notes that she 'understood he had made the musical Part of most of the musical Clocks of Note in Town'. Duchesne set himself apart from other makers of the time by featuring interchangeable music barrels, a style that had last been extensively practiced by William Jourdain in the later 17th century. Both makers also featured twelve bells with multiple, variable hammers and parallel motion music work. This suggests a detailed knowledge of music theory, in addition to the horological skill required to make such clocks. It seems that Duchesne may also have had some acquaintance with George Graham and John Harrison, the latter being introduced to Duchesne by the former. It is thought that Harrison contacted Duchesne in order to obtain the large quantities of brass he, Harrison, needed for his horological experimentations. Claude Duchesne is believed to have died in April 1733, and been buried in St. James, Paddington. His son, Anthony, married Anne Gagnon, and the couple had six children, one of whom, Claude (born in 1735) would go on to be a clockmaker. Duchesne's other known son, Claudius, married Anne, and the couple had four children. One of their children, Elizabeth 'Betty' Duchesne was born in 1724 and was known to be close friends with John, Charles and Sarah Wesley, with John Wesley conducting her funeral in 1776. It is thought that Elizabeth was responsible for gifting a walnut, moon phase eight-day longcase clock, made by her grandfather, to the Wesley's. The clock is reported to have never left Wesley's house, where it remains to this day. A late 19th century account suggests that the clock is the very timepiece that inspired Henry Wadsworth Longfellow to write The Old Clock on the Stairs, though this is not definitive: 'Half-way up the stairs it stands/And points and beckons with its hands.By day its voice is low and light/But in the silent dead of night,Distinct as a passing footstep's fall/It echoes along the vacant hall,Along the ceiling, along the floor/And seems to say, at each chamber-door, --'Forever -- never!/Never -- forever!''Blake, G. (2011) 'A Record of the Death of Claude Duchesne', Antiquarian Horology, Vol. 32 (5), pgs. 730-731.Turner, A. (2014) 'Charles Clay: fashioning timely music', Antiquarian Horology, Vol. 35 (3), pg.933.Betts, J. (2017) Marine Chronometers at Greenwich. Oxford: Oxford University Press. Pg. 143.Blake, G., Wintle, C., Gill, J. (2010) 'Claude Duchesne- Huguenot Clockmaker', Antiquarian Horology, Vol. 32 (1), pgs. 43-51.British Horological Institute (1891) 'Correspondence', The Horological Journal, Vol. 34 (1), pg. 16.Wesley's Chapel & Leysian Mission (2023) Virtual Tour: Wesley's House, Study. Available at: https://www.wesleyschapel.org.uk/your-visit/virtual-tour/ Dawber, E. G. (1898-1899) 'Some Thoughts on Clocks and Their Decoration: Part Two', The Architectural Review Vol. 5, pg. 261.Longfellow, H. (1890) The Poetical Works of Henry Wadsworth Longfellow, with Bibliographical and Critical Notes, Riverside Edition, Boston and New York: Houghton, Mifflin.Ord-Hume, A. W. J. G. (1995) The Musical Clock, Ashbourne: Mayfield Books.For further information on this lot please visit Bonhams.com
A late 19th century gilt and engraved brass repeating carriage clock with original numbered leather travel caseCharles Grottendiek, Bruxelles, Number 9422The engraved rippled handle above a thickly bevelled, rectangular escapement observation window and repeat button, the sharply moulded cornice over glazed sides between engraved concave columns, on an elaborately engraved, moulded base.The Roman dial signed Ch. Grottendiek (indeterminate address and title) Bruxelles below the blued steel spade hands, a subsidiary Roman alarm dial set below VII set within an intricate floral engraved brass mask.The triple spring barrel movement with a jewelled Swiss lever platform escapement and half-cut, bimetallic balance with timing screws, the backplate stamped Ch. Grottendiek Bruxelles 9422. Ticking, striking, repeating, and alarming, with a later double ended winding key and numbered (9422) leather travel case with purple velvet interior. 19 cms (7 ins) highFootnotes:François Charles Grottendieck was born in 1834 in Saint Anna, Hannover. His father was Ferdinand Henri, a wholesaler, and his mother was Marie Marguerite Wilhelmine Kruse. In 1863 he was married in Brussels to Eugènie Adélaïde Josephe Henriette, who was four years his senior and also a wholesaler. He is listed on his marriage certificate as a horologist, though it is not known where he served his apprenticeship. The couple appear to have gone into business together; given their backgrounds it seems likely that Eugènie would have managed the running of the shop, while Charles would have focused on repair and possibly finishing/manufacture. Throughout the 1860's-70s there was a horologist by the name of Dessaint-Plet whose shop was based at 10 Montagne de la Cour, Brussels. Plet had taken over the shop from another well-regarded horologist, A. Demeur, who is known to have sold carriage clocks by Paul Garnier. Demeur was also horologist to the King of Brussels, a title Plet seemed to receive with the shop. It is unclear when Plet retired, though it appears that Grottendieck became his successor, both to the shop and the title of horologist to the King and Queen of Brussels. It is unknown how long Grottendieck remained at this address, however, by 1901 the Grottendiecks were operating out of a shop on 80 Rue de la Madeleine, and also living above the shop. This may suggest that they had formally relocated from 10 Montagne de la Cour, rather than working out of both shops.In early August 1901, the shop was burgled, the thieves making off with 100,000 francs of items. This included 100 watches (valued between 100-1,500 francs), 30 gold chains (valued at around 10,000 francs), and 15 diamond and ruby trimmed bracelets (valued between 12 to 15,000 francs). Reportedly, Eugènie came downstairs to open the shop around 6.00, and noticed that one of the windowpanes, normally located 1.6m above the ground, had been removed and left on the shop counter. It was later suggested that the thieves climbed onto the arm of a streetlamp in front of the store, which allowed them to access the first storey window. As the lock was still bolted on the door, it appears the thieves left in the same fashion. Finding the shop had been ransacked, she apparently called up to Charles, who helped her draw up a list of missing inventory, before the police were informed. During questioning, it came out that a customer had come into the shop the previous day and spent ½ hour looking at a pocket watch chain. He left without buying anything, and 15 minutes later two different men came into the shop, looked at the same chain for ½ hour, then also left without making a purchase. These men, the first being identified as French, and the other two identified as Dutch, were listed as the likely thieves. It seems there had been a false alarm in the middle of the burglary, as 40,000 francs worth of jewellery had been left on the shop counter. More chillingly, in the room next to the shop, police discovered a dagger and several lengths of rope hastily left on a table. It does not seem that the perpetrator(s) was ever discovered.Charles and Eugènie had at least three children; Frédéric Jacques Joseph (born in 1865), Paul Désiré Joseph Charles (born in 1869) and Emma Ferdinande Joséphine (born in 1871). The eldest, Frédéric, became a horologist, likely being apprenticed to his father. He married Marie Colette Eugénie Briers in Elsene in 1904. Emma married into a family of wholesalers in 1893, both her brothers serving as witnesses. Interestingly, her husband, Paul Justin Louis Joseph Henriette, would serve as a witness to Frédéric's wedding nine years later.Paul Grottendieck became an engineer in Hainaut, at some point marrying Emma Celeste Louise Dubois. The couple had at least one child, Germaine Charlotte Clotilde Grottendieck, born in 1895, who apparently became an internationally lauded cellist. de Caluwé, J. (2019). 'Forme et contenu du discours publicitaire des horlogers bruxellois aux XVIIIe et XIXe siècles', Cahiers Bruxellois – Brusselse Cahiers, I, pg. 7-34.(1901) 'Belgique:Un Vol de 100,000 Francs', Journal des Débats: Politiques et Littéraires, 10 August, pg. 2.Firmin-Didot, A. (1860) Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration. Paris: Firmin-Didot frères, pg. 2273.Openarchives: Dutch and Belgian Archives on-line (2022) The Grottendieck Family. Available at: https://www.openarch.nl/(1901) 'Étranger: Belgique-Le Vol de 100,000 Francs', La Croix, 10 August.Belgian State Archives (2022) Grottendieck. Available at: https://search.arch.be/en/zoeken-naar-personen/zoekresultaat?text=grottendieck(1901) 'Faits Divers: Vol de 100,00 Francs de Bijoux', Le Temps, 10 August.Firmin-Didot, A. (1863) Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration. Paris: Firmin-Didot frères, pg. 2600.(1901) 'Vol de 100,000 Fr. de Bijoux', Le Rappel, 11 August, No. 11475.Muñoz, F. (2020) Souvenirs de vieux festivals du midi de la France: Prades et Aix-en-Provence. Available at: https://www.resmusica.com/2020/08/03/souvenirs-de-vieux-festivals-du-midi-de-la-france-prades-et-aix-en-provence/Rozier, J. (1901) 'Étranger: Un Vol de 100,000 Francs', Gil Blas, 10 August, N. 7936.(1901) 'Nouvelles Diverses: Vol de Bijoux', L'Univers et Le Monde, 11 August.Antiquarian Horological Society (2019) 'Drewetts', Antiquarian Horology, Vol. 40 (4).Meier, B. (2022) Charles Grottendieck. Available at: https://klokkendokter.com/charles-grottendieck/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
A rare mid 18th century French ormolu quarter repeating timepiece, the case marked with the Crowned C poinçon of 1745-49Moisy a ParisThe elaborate rococo case surmounted by an eagle, a wing and talon raised as it competes with a dragon below, both animals with finely worked details to the wings, bodies and facial features, over a waisted case cast with sunflowers, pansies and foliage amid an array of C-scrolls and shellwork. The rear door stamped with the Crowned C mark.The white enamel 4.25 inch dial with black Arabic five-minute numerals encircling the minute band and large blue enamel Roman hours, with floating half hour marks, and pierced gilt hands. The tapering rectangular movement united by knopped pillars signed along the curved lower edge, with tic-tac escapement sounding the hours and quarters past the hour on the pull of a cord set to the side of the case. Sold together with an associated late 19th century (?) inlaid kingwood and brass-mounted plinth 40cms (15.75ins) high.Footnotes:Jean Moisy was active in Paris in the mid 18th century. He was known to supply watch movements to Lazare Duvaux, who at the time was jeweller to the king. The first reference to Moisy is in 1753, when he submitted his chef-d'oeuvre, though the exact nature of this piece is unknown. At the time, he was working on the Rue de l'Arbre-Sec, where he would remain until 1755. Two years after his masterpiece was accepted, he moved to the Quai Malaquais, staying there until 1766. After 1766 it is not clear where he moved, but in 1772 he is recorded working at Place des 4-Nations. He is last noted working here in 1781, after which all record of him ceases; this year is tentatively suggested as the year he died, though this is not confirmed. On at least one clock, he signed his name, followed by the title Horloger de la Duchesse du Maine, though how he came by the title, or when, is not known.Tardy (1971) Dictionnaire des Horlogers Français. Paris: Tardy, p. 457For further information on this lot please visit Bonhams.com
A good late 19th century mahogany floor-standing General Post Office regulatorP.O. 1 A, movement numbered 653The arched case with silvered sight ring and brass plaque engraved P.O 1, a further ivory plaque engraved A above the glazed door displaying the wooden rod pendulum with cylindrical brass bob and engraved regulating nut, passing above a silvered regulating scale and brass inscription plaque reading Presented to Ray Clarke on his retirement from British Telecom on 31st January 1988 by the Materials Executive Management Board, supported on a panelled base with button feet. The silvered 12.5-inch dial with outer Arabic minute track enclosing the recessed subsidiary dials for Observatory style Arabic seconds (hand lacking) and Roman hours. The substantial single-barrel weight driven movement protected from dust by a wooden cover, the thick plates united by five heavy turned pillars and secured to the seatboard via three large L-shaped brackets, the deadbeat escapement with fine screw beat adjustment to the long crutch and Harrison's maintaining power and a dead-beat escapement, the backplate with terminals for wiring to a previous electrical impulse system, the front plate stamped 653 X. Ticking with a case key, a winding key and a brass cased weight. 187cms (6ft 1.5ins) highFootnotes:Provenance:This clock was presented to Ray Clarke, the vendor's father, on his retirement from The General Post Office in 1988. He joined the institution (later known as British Telecom or BT) at their Studd Street premises in 1950. By the time of his retirement, he was based at Euston Tower and was the last holder of the title Head of Supplies. This precision timepiece had by that stage become obsolete, but earlier on in the century would have played a critical role in the organisation. The 'A' plaque intimates that it was likely part of a pair, and may well have been in use from new, if so, this is the first time it will have been available on the open market. This lot is subject to the following lot symbols: TP Y ФTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A late 19th century English gilt brass carriage timepieceJenner & Knewstub 33 St. James's St. & 66 Jermyn St.Surmounted by a facetted floral handle and knurled finials over a stepped cornice and reeded uprights between solid side panels and a signed hinged rear door with spring catch. The engraved silvered Roman dial with elaborate floral scroll surround and fine blued steel moon hands.The single chain fusee movement with four ringed pillars and large underslung, jewelled English lever escapement with three-arm monometallic balance. Ticking with a small, brass winding key. 13.5cms (5ins) highFootnotes:Frederick Jenner and Fabian Knewstub entered into partnership around 1856, working out of 33 St. James Street, London. They specialised in making dressing cases, though they also offered clocks, toilette cases, wallets, etc. Additionally, they offered a range of silver and gold smithing objects and services, including gem engraving. Fredrick Jenner was born around 1823 in Beddingham, Sussex. At some point he moved to Newington in Surrey, where he married Charlotte Theakston Chaffey in 1849, who was 8 years his junior. It is unknown how he was employed, as he is not listed in relevant trade directories. Based on later records, it is tentatively suggested he was a stationer. The couple had a child, Frederick, around 1851, followed less then two years later with another child, George, and then another, Robert, in 1855. By this point, it seems likely that the growing Jenner family had moved to London, as Jenner and Knewstub went into partnership in 1856.Fabian James Knewstub was born in Kent around 1825/26 to William and Susan Knewstub. He had seven siblings, including Elizabeth, who may have been his fraternal twin, based on birth date. Fabian and Elizabeth were the eldest of the siblings. It is unclear when Fabian moved to London; based on later records it appears he was a trained jeweller, though the nature and location of his apprenticeship remain unclear. He was certainly in London by 1856, when he entered into partnership with Frederick Jenner.Two years after the formation of the partnership, the pair began advertising a selection of bags for sale, as well as the ability to engrave monograms on the bags. That same year, Knewstub and his partner Susan Dines, six years his junior and originally from Essex, had their first child, Harry, followed in 1860 by Walter. Oddly, the 1861 census records Fabian living as a boarder with his younger brother Walter, in 15, Kensington Square, Kensington, Middlesex. There is no mention of Susan, Harry, or baby Walter. Why this should be the case remains unclear. At the International Exhibition of 1862, Jenner and Knewstub exhibited in several categories, receiving two medals for their leather craft and were noted as 'exhibitors of very superior work'. That year, Annie Jenner was born, followed the next year by Edward Jenner and Frank Knewstub. 1863 also saw the partnership expand to operate from both 33 St. James Street and nearby 66 Jermyn Street, suggesting they must have been doing well at this time. The following year, the partnership expanded again, to 69 Jermyn Street. Jenner also took a patent out that year, for an invention which provided 'Improvements in purses, cigar cases, bags and other similar receptacles'. Unfortunately, the exact nature of the device is unknown.In 1865, Jenner's youngest child, Frederica, was born. George Knewstub was born the following year. An interesting notice was taken out in 1866, advertising the fact that Jenner and Knewstub were selling off their entire stock, 'prior to enlarging their premises'. The advertisement details what stock they have: 'Dressing cases, Travelling bags, cutlery, despatch boxes, albums, photographs, envelope cases, jewellery, elegancies in mounted china, or-moulu, gold, silver, enamel, etc.'. The stock offered seems fairly evenly split between jewellery/metal work and stationary goods, tentatively suggested as representative of Knewstub's and Jenner's skills, respectively. However, the presumed revenue they accrued from this sale doesn't appear to have been spent on new premises; contrarily they appear to have downsized, occupying only 33 St. James Street and 66 Jermyn Street. They did, however, present a new, patented writing case (the Elgin Writing Case) and dispatch box (the ABC Dispatch Box) to the 1867 Paris Exposition, for which they received an award. Both the writing case and dispatch box were very warmly reviewed by the literary establishments of the day, including Punch and the Times. Shortly after, in 1869, Bessie Knewstub was born, followed less then two years later by the youngest Knewstub, Ethel. Around this time, a patented 'Jewel Case' was also added to the firm's celebrated products. The census of 1871 recorded Fabian and Susan Knewstub, and their six children, living in Peterborough Villas, Middlesex. Frederick, described as a stationer, and Charlotte Jenner, and their six children, were living in St. James Street, possibly above the shop, though this is not certain. By this point, Jenner and Knewstub were describing themselves as 'Dressing case and Travelling Bag makers' as well as 'Jewellers, Goldsmiths, Silversmiths, Designers, Heraldic and Gem engravers'. Not only did they employ 45 people between the two shops, they appear to have received royal patronage, advertising as makers to 'the Queen, the Royal Family and Principal Courts of Europe'. They also had a new form of keyless work, in their patented 'Eunomia watch' which boasted that their 'improved keyless action cannot be overwound', the watch also contained a 'perfectly safe mainspring' and was described by the Times as 'a perfect timekeeper'. Unfortunately, no further details can be found about the exact nature of the keyless works. The firm exhibited in the 1878 Paris Exposition, seemingly in quite a few sections, including clocks and watches. The British Horological Institute's correspondent at the expo was bracingly dismissive of the partnership, describing them as 'Jenner and Knewstub, the extensive advertisers of the 'Bag of Bags,' also exhibit clocks and watches, perhaps very good ones, too, though we did not trouble to examine them. The man who invents or improves can never be content to be classed with the one who is only a tradesman. It is a pity that the latter cannot be penetrated with a sufficient sense of the fitness of things to confine himself to the shop and the bazaar.' Despite this dismissal, the firm received an honourable mention for their jewellery exhibit and a silver medal for their stationary exhibit. Less then two years later, the firm took out a design patent for a metal purse. The census of 1881 lists the Knewstubs living at 20, St George Square, Pancras, London and Fabian himself as a publisher of books. Interestingly, in 1884, the firm fulfilled another royal contract, this time for Empress Eugénie of France. The contract was for the manufacture of an ebony and silver mounted book, with vellum pages containing the names of all the subscribers to a memorial established for the late Prince Imperial, her only son. The book was 'made in ebony, with silver mounts, with a raised carved silver 'N' and Imperial Crown in the centre, and raised silver eagle at each corner'. For further information on this lot please visit Bonhams.com
A fine and rare early 19th century mahogany eight day duration marine chronometerMorris Tobias, 31, Minories, London, No. 326The three tier case with solid top, 326 numeral plaque to the centre and brass side handles on a felt lined base. The signed and numbered 4.25 inch silvered Roman dial with minute band enclosing the blued steel hands, large subsidiary seconds dial at VI set below the power reserve dial running from 1-8 days. The large chain fusee movement with maintaining power, crescent shaped backplate united by three large turned pillars, the escapement set on a sub plate with free sprung blued steel helical spring with diamond endstone to an Earnshaw type detent escapement with cut and compensated bi-metallic balance with keystone shaped weights. The movement contained within a gimballed bowl with locking arm and original marine ivory and brass tipsy key. The case 20cms (8ins) wideFootnotes:Sold with a folder of information including copies of Certificates of Competency for second Mate, First Mate and Master of it's owner, Henry Jones Hanson.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
A very rare mid 19th century mahogany floor standing regulator with gridiron pendulum and Mudge gravity escapementMcGraw, LeedsThe arched case with moulded frame to the full-length door, with glazed sides over a recessed panel base on moulded block feet. The 13-inch signed silvered dial Roman dial with minute track and steel hands, the recessed subsidiary seconds dial set at VI, with bold five-second markers. The weight driven movement substantially constructed throughout, with shouldered plates 6mm in thickness united by four heavy turned pillars. The inverted single train winding below XII, the gut line running over an off-set free barrel, with Harrison's maintaining power, high count pinions and substantial wheels of six crossings out, tear-drop shaped cock on the rear of the backplate supporting the deadbeat escape wheel, the gravity escapement with separately mounted vertical entry-and exit-pallets, their sprung roots screwed to the back cock and running down to the escape wheel, each playing against the outer edge of the heavy gridiron pendulum as it swings. The pendulum with T-bar suspension over five bars of brass and steel to a heavy lenticular bob, driven by a brass weight. 2m (6ft 7ins) high.Footnotes:Joseph Copeland McGraw was born in Leeds in 1873. It is unknown where he served his apprenticeship, but he was described as a clockmaker. He married Eliza Phoebe Pearson in 1893 in Nottingham. After the birth of their first child, James, in 1895, the family moved to Leeds, where the other six children were born. McGraw died in 1909, at the age of 36, and the family moved back to Nottingham. Two years later, they are listed as living at 6 Institute Street, Hartley Road; Eliza is described as a charwoman, and the children that are old enough to work are either listed as scholars or errand girls/boys. The eldest child, James, would enlist shortly after the beginning of the First World War, eventually being killed in action in France 1918. Nottinghamshire County Council (2022), Roll of Honour: James McGraw. Available at: https://secure.nottinghamshire.gov.uk/RollOfHonour/People/Details/7405This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A fine and rare mid 19th century English gilt engraved brass miniature carriage clock with hour repeatHunt and Roskell, LondonSurmounted by a facetted chevron-engraved handle on a stepped floral-engraved top framed by acorn finials, on reeded Doric columns, the sides decorated with bluebells, harebells, primroses and other flowers, the back door plain, with a sprung catch, on an engraved block base with knurled button feet. The silvered 2 inch Roman dial with engine turned centre and finely divided minute ring, with blued steel moon hands, signed under the mask Hunt & Roskell London, set into an intricately engraved gilt mask, the lower part displaying a waterside castle, with two large engraved Rocs with outstretched wings to either top corner.The twin spring barrel movement and jewelled underslung English lever escapement with monometallic balance mounted to the back plate, rack striking on a coiled blued steel gong. Ticking, striking and repeating, with winding key. 13cms (5ins) highFootnotes:Paul Storr was born in 1771, possibly a relation of Marmaduke Storr, father and son horologists from London. Paul Storr was apprenticed to Andrew Fogelberg as a silversmith and is first recorded as a 'working silversmith' at 30 Church St., Soho in 1794. Two years later, he had relocated to 20 Air St. Piccadilly, where he would remain until 1806. After this point he moved to 53 Dean Street, Soho, and is joined by four partners: Philip Rundle, John Bridge, Edmund Waller Rundle, and William Theed, formally being described as Storr & Co.. By 1810, Storr & Co. had expanded to encompass 54 Dean Street, though it appears that from 1809-1816, Storr maintained premises at 22-23 Air Street, as well as the north side of Vincent square in 1814. In 1811, Storr & Co. was robbed of 127 oz. (3.6 kg) of silver by one of their porters, James Potter. He was charged with stealing from his employers and transported for seven years.It appears that Storr had a falling out with his partners around 1818; although the business was still named Storr & Co., they were not listed on insurance forms, as they had been previously. He also moved the shop to 17 Harrison Street, Gray's Inn Road. Two years after this move, he was still at this location, though he was now described as a 'gentleman', rather then as a 'working silversmith'. By 1823, Storr was again in partnership, this time with John Mortimer, and they operated out of 13 New Bond Street, while the Harrison Street property seemed to be reserved for manufacturing. Storr & Mortimer were now described as 'silversmiths and jewellers', rather than simple 'working silversmiths'. Mention was also made of Eley & Co. at this time, who were working silversmiths, and with whom Storr & Mortimer. did business with, apparently for repairs.1831 saw the company move to 26 Harrison Street, Grays Inn Lane, and also expand the New Bond Street location, to include both 13 and 14. Less then two years later, they had moved to 156 New Bond Street. By 1835, John Samuel Hunt, a chaser and silversmith, had become a partner, and lived next door to their Harrison-street manufactory, though the firm still traded out of their Bond Street location. It appears that Hunt was responsible for the day-to-day administrative running of the firm, and that Mortimer was responsible for overseeing the designs and production. It seems that around 1838/1839, Storr retired to Brixton, Surrey, possibly dying in 1844. After Storr's retirement, the company was renamed Mortimer & Hunt, and they continued using the same addresses as those used by Storr & Mortimer. Robert Roskell, a watchmaker from a horological family in Liverpool, joined the firm in 1842, and the firm was thus renamed Hunt & Roskell, though the two addresses remained the same. Old Bailey Proceedings Online (1811) trial of James Potter and Joseph Aaron. Available at: https://www.oldbaileyonline.org/browse.jsp?id=t18110220-27-victim283&div=t18110220-27#highlightSun Fire Office (1794-1839) Records of Sun Fire Office, London: London Metropolitan Archives: City of LondonOld Bailey Proceedings Online (1835) trial of Timothy McCarty. Available at: https://www.oldbaileyonline.org/browse.jsp?id=t18350706-name-244&div=t18350706-1638#highlightKelly (1843) Post Office London Street Directory, London: Kelly's Directories Ltd.Kelly (1891) Post Office London Commercial and Professional Directory, London: Kelly's Directories Ltd.Old Bailey Proceedings Online (1823) trial of Henry Kinder. Available at: https://www.oldbaileyonline.org/browse.jsp?id=t18230219-109-victim997&div=t18230219-109#highlightUniversity of Leicester (2022) Historical Directories of England & Wales: London 1808-1915. Available at: https://specialcollections.le.ac.uk/digital/collection/p16445coll4/search/searchterm/London/field/place/mode/exact/conn/and/order/nosortFor further information on this lot please visit Bonhams.com
A rate late 19th century French nickel silver 'Angelus' carriage clockDesigned by Lucien Falize. The movement numbered 7901Surmounted by a handle of entwined dragons, over twelve titled circular panels cast into the sides, each representing a month of the year with an associated activity (sowing, harvesting, threshing etc); the rear set with a scene of the Admonition and the inscription 'Vigilate quia netcitis diem neque horam' Watch thee, for you know not the day nor the hour and a solid door with strapwork hinges and sliding bolt, the octagonal dial with gothic Roman numerals and fancy pierced hands with mythical beasts to the centre, over a scene of the Annunciation and the inscription 'Angelus Domini numtiavit Maria', The Angel of the Lord Announced to Mary, the underside cast in the same style with strapwork and hexagonal panel, signed AXF and depose. The rectangular carriage clock movement with folding integral handle tandem winding both trains, with lever platform escapement striking and repeating on a gong. 18cms (7ins) high. Footnotes:The plates are engraved AB and punch numbered 5036COMPARATIVE LITERATURE:A. Kenneth Snowman, The Master Jewellers, London, 1990, pp.61-72Lucien Falize, 'L'Orfevreue et la Bijouterie au Champs de Mars', Gazette des Beaux Arts, Paris, 1878Katherine Purcell, 'Catering for Every Taste', Apollo, February 1991Joseph Fanelli and Charles Terwilliger, A Century of Fine Carriage Clocks, Clock Trade Enterprises, 1987, pp.90-91Lucien Falize (1839-1897) and his father Alexis (1811-1898) were renowned designers and manufacturers of the finest decorative and enamelled jewellery. Alexis established the firm in 1832 and retired in 1876, whereupon his son took over and expanded the business. Lucien was particularly influenced by the enamel art of Japan and the revival of interest in Gothic and Renaissance art so popular in the last quarter of the 19th century.This particular model of clock - given the name Angelus - was first exhibited in ivory with gold and silver mounts at the 1878 at the Exposition Universelle in Paris. The 'AXF' lozenge mark stamped on the underside of this lot was not used by Falize after he took Bapst, former French crown jeweller, as a partner in 1880, giving a timeline of possible production of this piece of 1878-1880. Related examples of this model were sold in these rooms 17th June 2003, lot 92; 15th December 2015, lot 120; Sotheby's Paris, 28 March 2007, lot 155; Christie's London, 6 December 2006, lot 16 and Sotheby's London, 24 February, 2004, lot 3. Another example is in the collection of the Los Angeles County Museum of Art, Accession Number: M.2001.137.For further information on this lot please visit Bonhams.com
A very rare and historically interesting late 19th century two-day marine chronometer movement that took part in Ernest Shackleton's Nimrod expedition from July 1907 to September 1909. Now mounted in a mahogany mantel case.R. Gardner,20 Lloyd Square, London W.C. Stamped with the Admiralty arrow and'I 1920', No. 5/4186The 3.75-inch signed silvered Roman dial with outer minute track and subsidiary power reserve indicator from 0-56 hours at XII, the observatory style seconds dial at VI framing the Admiralty arrow and numbers 1/1920 and 5/4186, signed across the centre R. Gardner 20 Lloyd Square London. W. C. below the blued steel spade hands.The spotted full plate movement with four ringed pillars and maintaining power to the chain fusee, free sprung palladium helical balance spring (top pivot broken) with diamond endstone and Earnshaw type escapement (detent lacking), cut and compensated bimetallic balance with circular timing weights, sitting in a weighted, gimballed bowl punch numbered 5 4186 and with sprung rear cover to allow winding access. Now set into a 20th century mahogany mantel piece case. 16cms (6ins) highFootnotes:Robert Gardner was born 1851 in Glasgow, to Robert Gardner, a horological supplies wholesaler. He was apprenticed to a clockmaker in Glasgow, and later, in 1871, to a London watchmaker, Troy Thomas. In 1875, his father died, and the business passed to Robert and his brother John. Robert returned from London to run the family business with John. Their partnership was short lived, however, and by 1878 Robert had established his own watchmaker's shop in Glasgow. Apparently, he was travelling extensively at this time, to both the Continent and the United States, all in the pursuit of discovering improved horological techniques. In 1880, some ship owner friends in Glasgow commissioned him to go to London and buy them some chronometers for their ships. After his return, it seems he became fixated with chronometers and by 1885, he was again living in London; he was married that same year, to A--, who was 11 years his junior. In 1886 he had established his workshop in his home at 20 Lloyd Square, Clerkenwell Road; he gradually moved into marine chronometers, originally purchasing finished Kullberg chronometers, and then using the bought stock from James Nelson, who had since retired and moved to New Zealand. Eventually, Gardner began making his own chronometers, with one of his chronometers taking first place in the 1897/98 Greenwich Trials. His son, Malcolm, had been born the year before, in 1896. Once he began making his own chronometers, he became increasingly engrossed in making the best chronometer balance with the optimum spring combination to ensure isochronism. This included fitting two and three in one balance springs, and also mercury compensated balances to attempt to overcome middle-temperature error. These balances built on the work of Le Roy and E. T. Loseby; in essence, a custom-made mercury filled bulb and stem were formed into a hook shape and attached to a partial metal rimmed balance. According to Loseby, this eliminated middle temperature error, and chronometers fitted with such mercury balances won Loseby first in the Greenwich trials for five consecutive years. Interestingly, Gardner finished several of Loseby's chronometers on the latter's death, including two which were given to Loseby's executors. Purportedly, Gardner had contracts to supply chronometers to the Italian, Dutch and Thai governments, and he continued to submit chronometers to Greenwich up until WWI. He also frequently contributed technical articles to the Horological Journal, on various aspects of chronometer function and manufacture.Around 1901, Gardner travelled to Fleurier, Switzerland to meet with Charles Edouard Guillaume, of 'Invar' and 'Elinvar' fame. Gardner successfully negotiated a contract with Guillaume, stating that he, Gardner, would become the only supplier of 'Guillaume balances' in the U.K. and Ireland. The contract specifies that the balances were to be sold for no less than £2 and were to be used in chronometers sold for no less than £25. Unfortunately, the contract was later cancelled through mutual agreement, as Gardner's frequent trips abroad and extensive work at home culminated in a nervous breakdown. Gardner continued to work on his chronometers and the pursuit of 'middle temperature error' elimination, his workshop being moved to the third floor of the house as his eyesight deteriorated. He worked on improving chronometers, particularly investigating palladium springs and five bar cut balance wheels, right up until his death in 1931. A contributor to his obituary noted that 'what he did not know about chronometers was not worth knowing, but at the same time he always had his eyes and ears open for new ideas'. His wife died in 1943.After his father's death, Malcolm Gardner, under the auspices of Courtenay Ilbert, established a horological bookselling business to clear out his father's extensive book collection. Malcolm rapidly became very well-known in the horological world, later dying in 1960. The majority of the books he sold eventually ended up in the British Horological Institute's Library. The current chronometer, No. 5/4186, had a varied service life. It was purchased by the Admiralty in March 1899 for £44. Less then a year later it was used on board a ship bound for Sydney, and it spent more then a year on board. On its return, it was serviced by Usher & Cole; why Gardner did not service it is unknown, possibly he was too busy with manufacture and travel to worry much about servicing. In 1903, the chronometer was used by HMS Merlin, on the ship's maiden voyage to Australia, as part of the Royal Navy Survey Service. The chronometer was collected a year later from Bombay. After another Usher & Cole service, the chronometer was next used in 1907 on the Nimrod as part of Ernest Shackleton's 1907 Antarctic expedition to reach the South Pole. The team, lead by Shackleton, came to within 97 miles of the magnetic pole, before being forced to turn back due to bad weather. The expedition was the first to climb the southernmost volcano, Mt Erebus. A description of the expedition, written by Shackleton, notes that Jameson Boyd Adams, the Royal Navy Reserve Commander and the first to volunteer for the expedition, 'every morning, directly after breakfast, wound up the chronometers and chronometer watches, and rated the instruments'. Which chronometers these were, is unknown.In 1909, the chronometer was returned to the admiralty and again serviced by Usher & Cole. In 1915, the chronometer was installed on HMS M19 a monitor ship seemingly stationed near Turkey during WWI. Shortly after the chronometer was installed, a 9.2' gun on board the ship exploded, causing a fatality and several injuries. The ship was then transformed to a crude oil carrier. The chronometer was returned to the admiralty in 1917. The chronometer was next transferred to the India office in 1920, being sold to said office the following year. The chronometer's movements after this date are unknown.For further information on this lot please visit Bonhams.com
A rare mid-19th century French one-piece cased carriage clockBaullier (Père et fils) and Paul GarnierThe typical bevelled glazed case surmounted by a turned handle on baluster uprights with moulded frame on a stepped base with wooden block underneath, the front panel lifting up via an applied knob to allow for winding and hand setting. The silvered one-piece dial with engine turned centre, the Roman chapter ring framed by a watered-silk effect mask, and set with blued steel moon hands. The large twin spring barrel movement with a jewelled English lever platform escapement, the uncompensated monometallic balance with engraved cock, striking on a large flat bell, the backplate stamped Baullier Père et fils and in the centre P. G. Brevete. Ticking and striking. 18cms (7ins) highFootnotes:The Baullier dynasty of clock manufactures were established in 1789. By 1823, the elder Baullier was operating out of 102 Rue du Temple in Paris and advertising as a clock and watch maker. Three years later the firm had become Baullier, père et fils, still operating out of the same location. It seems likely that the younger Baullier was apprenticed to his father, finishing his apprenticeship in 1826. On 15 April 1827, the shop was relocated to 9 Rue Vendôme, and the firm appears to have expanded their offerings to included horological wholesale. Two years later, the firm had expanded again, to include gilt bronze clock cases. Confusingly, they are listed as still operating out of 102 Rue du Temple, as well as 7 Rue Vendôme. Additionally, a clock and watch maker named Baullier was listed as part of the committee for the Parisian 6th district town hall, beginning from this date. Two years after this, a horologist named Baullier served as juror. Sometime before 1836, the younger Baullier appears to have married a woman of very good standing, though as with the rest of the dynasty her first name remains unknown. In 1836, though, she is listed as a wealthy donor to a charity ball, specifically held to raise money for the poor of the 6th district in Paris. Her address is listed as 9 Rue Vendôme. Less then a year later, the name of the firm was changed to 'Baullier, Elder & Co.' and their address was listed as 9 Rue Vendôme. The firm's trades were described as 'clock makers, wholesale orders, gilt bronzes cases and watches of all types'. This title would be in place throughout 1839, though by this point the firm was known by several other names; 'Baullier, elder clockmaker 9 Rue Vendôme', 'Baullier's son & Co. Rue Vendôme', and the first mention of 'Baschet-Baullier 9 Rue Vendôme'. Similar to the Baullier family, Baschet's surname is unknown and very little is known about them. A year later, these titles were all still in use, though Baullier, père et fils 9 Rue Vendôme, had supplanted 'Baullier, Elder & Co.'It appears that Baullier Sr. had transferred the shop to Baullier Jr. and Baschet in 1841, a notice appearing in several trade journals that the latter were now the successors to the former. It is also the first time that Baullier's wife is listed in the trade journals, as a metal engraver working out of 48 Coquillière. Baullier is also listed as working out of this address as a horologist. No mention is given of Baschet trading at this location.Less then a year later, the Baulliers had relocated to 67 Vieux-Augustins, though the shop Baullier and Baschet took over remained at 9 Rue Vendôme. In 1843, mention is again made of a horologist named Baullier serving as part of the committee for the 6th district town hall; it is possibly that the elder Baullier's position on the committee was transferred to his son on the former's retirement, though it is also possible that the younger Baullier had been part of the committee since 1829. This same year, the famed conjuror and horologist began working out of 9 Rue Vendôme (having been at 11 Rue Vendôme the previous year) an address he would work out off until 1846.The following year, the firm exhibited during the 'Industry Exposition of 1844' though their name had again changed, now becoming 'Baschet, Baullier and brother'. They exhibited a selection of pillar clocks and gilt bronze cases. The firm's name was changed in trade journals as well, to 'Baschet, Baullier and brother', with mention being made that all three were the successors of the elder Baullier. In 1846, Baullier and his wife moved to 43 Vieux-Augustins, and the former expanded his offerings to include both horological repair and polishing. The firm expanded in 1847, to offer Carcel lamps (clockwork driven oil lamps) in addition to 'clocks and general horology'. In 1848, Baullier's wife advertised as a jeweller as well as a metal engraver, the couple had also moved again, to 55 Montmartre. Interestingly, Baullier's wife is also referred to as Mme. Hte, likely Madame Haute which was a designation for an aristocrat at the time. Based on her past involvement as a donor to a Parisian ball, it seems that she may have been quite wealthy.In 1849, Mme. Baullier began to specify that she was a metal engraver for horological items, likely meaning an engraver for back/balance cocks, backplates, etc. There is also no longer any reference to the Baullier brother, the firm's name reverting back Baschet Baullier. Two years later the shop would move premises for the last time, to 7 Rue Vendôme. Less then a year later, in Baullier's solo advertisement, working out of 55 Montmartre, he described himself as a shop horologist (a horologist who repairs horological items out of a non-horological shop), possibly indicating his wife owned a jeweller's shop at which he was the horologist. In 1854, the Baulliers were operating out of 49 and 55 Montmartre, moving to 47-49 Montmartre shortly after. In 1856, Baschet, Baullier and Callaud of 7 Rue Vendôme Paris took out a 15-year patent for an 'electric remontoire'. Callaud appears to have been a Parisian horologist who had been working in Paris since at least 1833. As he is only named in the patent, it is possible that he entered into partnership with Baschet and Baullier strictly for the manufacture of clocks with an 'electric remontoir'. The firm continued to advertise in trade journals until 1861, after which point no mention can be found of Baschet Baullier, or Baullier on his own. The advertisements for the Baullier's wife stopped a year previously, and never pick up again. This date, 1860-61, coincides with the very end of the third global cholera pandemic, and the very beginning of the fourth, making it possible that all three manufacturers were victims. In 1884, an obituary was published for Julie Bourlet, née Baullier, a 24 year old horologist. Further, in 1898, a marriage notice is published for Rose-Emilile-Pauline Baullier (no profession) to Jules-Louis-Joseph Abry (watch case manufacturer). What relation these two women have to each other, and the Baullier horologists described, remains unknown.As the clock is marked Baullier, père et fils, the clock would likely have been manufactured between 1826-1840 For further information on this lot please visit Bonhams.com
A rare first half of the 18th century burr walnut quarter repeating table timepieceWattson, London (sic)The inverted bell top case surmounted by a handle over an intricately moulded cornice and tall arched glazed side windows on a moulded plinth on block feet. The 7 inch brass dial with shouldered arch set with a subsidiary date ring marked 1-9 consecutively, then 11-31 with odd numbers only, flanked by the signature and foliate engraving, four winged cherub head spandrels frame the silvered Roman and Arabic chapter ring with lozenge half-quarter marks and meeting-arrowhead half hour markers, the finely matted centre with engraved chamfered mock pendulum aperture. The single gut fusee movement united by six knopped pillars, knife edge verge escapement, the pull repeat sounding the hours on a (replaced) bell and the quarters on a run of six bells and hammers. The backplate signed in a leafy cartouche framed by symmetrical interlaced foliate scrolls. 47cms (18.5ins) highFor further information on this lot please visit Bonhams.com
A good and rare late 18th century mahogany drop dial timepieceMatthew and Thomas Dutton, LondonThe 13.5 inch signed Roman and Arabic dial with minute track and original heart shaped hands framed by a cast concave brass bezel within a convex moulded surround over shaped side pieces to the drop trunk terminating in a moulded chisel foot with locking door (key present). The substantial single gut (now wire) fusee movement with large plates united by four tapering pillars, the anchor escapement with heavy steel-rod pendulum on a T-bar suspension 66.5cms (26ins) high. Footnotes:A similar wall clock by Thomas Mudge and William Dutton is illustrated in Birch Thomas Mudge and William Dutton, a perfect partnership 2019, page 44.William Dutton was apprenticed to George Graham in 1738, suggesting 1724 as a likely birth year. His father is listed as Matthew Dutton, a gentleman from Marton, Buckinghamshire. William gained his freedom in 1746, possibly marrying Ann Millward a year later, though this is not confirmed. Around 1760, a William Dutton is recorded living in Bolt Court, which was quite near to Fleet Street. Another former Graham apprentice, Thomas Mudge, was living very close to William Dutton. The two eventually entered into partnership, though exactly when is unsure. It seems that for most of their partnership, Mudge was solely responsible for paying the Land Tax, meaning Dutton's name doesn't appear in the Tax books until the 1770's. The earliest proposed date for the start of the partnership is 1750/51, with most sources agreeing that the two were certainly in partnership by 1765, operating out of 151 Fleet Street. Around the time that the partnership was forming, William and Ann had two children; Matthew, likely born around 1757, and Thomas, likely born around 1762, who would both become horologists. The couple would have at least four other children; Sarah, Hephzibah, Nancy, and Dorothea. In April 1771, Matthew Dutton was apprenticed to Thomas Mudge. However, this same year Mudge departed London for Plymouth, to concentrate on his chronometer construction. It appears that Matthew's apprenticeship was turned over to his father at this point, and he gained his freedom in 1779. His younger sibling, Thomas, was apprenticed to their father in 1776, and gained his freedom in 1791. William Dutton managed the business for Mudge and is recorded as being the rate holder for 151 Fleet Street, beginning in 1772. By 1774, Dutton had moved the premises to 148 Fleet Street, though the shop continued to be called Mudge & Dutton. Around this same time, Mudge began submitting chronometer's to the Board of Longitude, and Matthew Dutton appears to have acted as a go between. He would deliver the chronometer to be tested to the Observatory, taking it apart to demonstrate Mudge's modifications, monitor it when it was on test, and then communicate to Mudge any questions or rulings from the Board. Interestingly, Mudge Jr. noted that the 'Green' and 'Blue' chronometers were delivered to 'Mr. Dutton' in 1790 and had since remained with the Duttons. When, and under what circumstances, the chronometers left 148 Fleet Street, remains unknown.William Dutton died in 1794, having left all the tools, engines, and utensils of his trade to Matthew and Thomas. He also left the shop and, presumably upstairs, apartment to Matthew, and the adjoining apartment to Thomas. Thomas Mudge also features heavily in William's will, being left one-third of all William's estate, land, and tenants in Bedford, the other two-thirds to be shared by Matthew and Thomas. The three horologists were also appointed his executors, as well as the appraisers of all the stock in his shop, with the option of appointing additional appraisers, should they see the need. Money was also left to the other four children, as well as a small annual pension to be paid to Elizabeth Dutton, and her daughter Caroline. It seems quite likely that Elizabeth and Caroline Dutton where the wife and daughter, respectively, of Benjamin Dutton, William's nephew and a horologist. He was apprenticed to John Holmes in 1755, though it is unclear when he gained his freedom. Interestingly, it has been suggested that John Holmes was one of the first manufacturers to supply 'Mudge & Dutton' with movements, before Holmes moved out of the area around 1760. Benjamin died in 1786, leaving everything to his wife Elizabeth.William Dutton also left some money to Thomas Mudge and John Priest, another of Graham's former apprentices, to thank them both for their firm friendship throughout the years. It appears that William's wife, Ann, died in 1787, the same year that the majority of William's will was written. It was updated in 1792, to include leaving some money to his daughter in law Katherine, who appears to have been Matthew's partner (possibly Catharine Dunant), and his future grandchildren. As there was some confusion regarding the validity of this amendment, Thomas Mudge and James Bullock, a Holborn clockmaker and long-time friend, both appeared in person to swear to the amendment's validity. Matthew and Thomas entered into partnership together, operating out of the 148 Fleet Street premises. Oddly, the 1794 entry lists 'M. & J. Dutton, watchmakers' working out of this address. It is possible this was a misprint for 'T'. Matthew and Katherine would have at least four children; Louisa, Catherine, Matthew, and Jane. Of these, only one would go on to be a horologist; Matthew, who was apprenticed to his father in 1799.In 1802, two years after Matthew (Sr.) had been made Master of the Clockmaker's Company, the partnership between Matthew and Thomas was mutually dissolved, with notice given that Matthew Dutton would be continuing the 148 Fleet Street business alone. It is not known what happened to Thomas; he isn't listed as a horologist in any trade directory for London, Plymouth, or Buckinghamshire after the dissolution. It has been suggested that he married Sarah Kingdom in 1794, and that one of their children, Thomas (Jr.), became a Captain with the Royal Navy and eventually emigrated to Tasmania. However, this has not been independently confirmed, and still doesn't clarify what Thomas (Sr.) was doing after 1802..For further information on this lot please visit Bonhams.com
A very rare, dated, mid 18th century mahogany-crossbanded oak longcase clock with Dutch strike and bolt-and-shutter maintaining powerHenry Hindley, YorkThe inverted bell top with shaped cresting flanked by twin capped pedestals over a stepped multi-part cornice raised on freestanding reeded Doric columns, the long trunk door with mahogany crossbanded edge on a matching panel base and apron. The 12 inch arched brass dial with large subsidiary date dial framed by addorsed dolphin mounts over mask-and-scroll spandrels enclosing the silvered Roman and Arabic chapter ring signed either side of VI, the finely matted centre with running seconds and matted shutters for the maintaining power. The weight driven movement secured to the (replaced) seatboard by twin J-bolts locating into the lower edges of the plates which are united by four typical turned baluster pillars of particularly good colour, the going train with maintaining power engaged via a pull cord below, the striking train with rack striking system on a bell, (originally Dutch striking, now one bell hammer removed). The frontplate with engraved date 1743. The tapering steel rod pendulum with brass faced lenticular bob, and a pair of lead weights. 2.41m (7ft 11ins) high.Footnotes:Henry Hindley was born 'Henry Hindle' in 1699 to Margaret Proctor and Henry Hindle, a blacksmith, in Great Harwood, near to Blackburn. The Hindles were a well-known blacksmith family in Great Harwood, going back at least 150 years. It has been suggested that Henry served his apprenticeship in Wigan and at least two clocks signed Hindley de Wigan and dated to around 1720, are known to exist, which would support this conclusion. It is unknown who his master was; John Burgess, a Wigan clockmaker and gun smith, has been suggested, though there is no concrete proof that this was the case. Henry was the eldest of eleven, possibly twelve children. His sister, Katherine, was around a year his junior, followed by John (1704), Elizabeth (1705), Sarah (possibly another sister, though not confirmed), Mary (1708), Anne (1709), Edith (1711), another Anne (1713), the twins Margaret and Alice (1714), and the youngest of the siblings, Roger, who was born in 1716. By 1731, Hindley was in York, obtaining the Freedom of the City in March of that year. In order to gain Freedom in York, a horologist either had to be apprenticed in York, or pay for their freedom, with gifts being accepted in lieu of payment. Hindley accordingly gifted two specially made eight-day longcase clocks; one for the Mayor of York's home (Mansion House) and another for the Common Hall/Guildhall. He also agreed to maintain both clocks for a year (after which point, he would be paid for servicing them) and was subsequently granted his freedom. At some point, he married a woman named Sarah, and the couple had at least two children, Elizabeth and Joseph. The latter was born around 1728 and would likely have been apprenticed to his father.Hindley originally appears to have lived in Petersgate, before moving in 1741 to the corner of Blake Street and Stonegate. Around the time of his move to York, he seems to have apprenticed his younger brother Roger, though no formal record of this apprenticeship exists. Roger would later move to London, seemingly around the time that Henry moved to Blake Street and Stonegate. His main trade was watch-cap manufacture, and as no finished timepieces are known with his signature, it is assumed he built his career on supplying parts for the trade. He was known to have married, and the couple had at least one son, John. The last known record of this part of the Hindley family is in 1785, where Roger is noted as still an active horologist. In addition to changing residence in 1741, Henry Hindley made the acquaintance of John Smeaton, who would eventually become a London scientific instrument maker and civil engineer, as well as a life-long friend and posthumous promoter of Henry Hindley. During their first meeting, Smeaton references a wheel-cutting engine in Hindley's possession, and of Hindley's own manufacture around this time, which was equipped with an endless screw, and the ability to cut up to 360 teeth. Smeaton was so intrigued with the machine and its manufacture, that he would later deliver a lecture before the Royal Society in 1785, specifically about the machine and Hindley's process for dividing circles. The machine was acquired by a varied string of clockmakers, after Hindley's death, and alternatively run down and restored. It is unknown what eventually became of it.In addition to clocks, around 67 of which are extant (most being longcases, followed by turret clocks and then spring driven clocks) Hindley was known to have made at least two equatorial telescopes. The first was made around 1754, a contemporary opining that the mounting for the telescope was originally made to test the accuracy of Hindley's wheel cutting engine. He advertised the finished telescope for sale in the local newspaper of August that year, though it seemed to generate little interest. The telescope languished until 1761, when it was bought by a landowner, William Constable, to watch the transit of Venus. The second telescope Hindley made appears to have been made on commission for the Duke of Norfolk. Additionally, a pyrometer and rack-driven fusee engine are known to have been made by Hindley. Elizabeth died in 1762, the exact cause being unknown. Sarah followed shortly after, around the end of the same year. Henry continued his business until his death in 1771, reportedly after a 'lingering illness', though he managed to install a turret clock made for St. John's Church in Manchester before his death. One of the last jobs completed before his death, poetically, was the servicing of the clocks he had made for the Manion House and the Guildhall. He was described in his obituary as a 'Clock, Watch, and Mathematical Instrument maker.' Joseph took out a notice the following week, that he would be continuing his father's business. In 1774, shortly after completing work on the Holy Trinity Church's clock in Hull, Joseph also died, apparently in the middle of making an atmospheric steam engine for the same town's waterworks. He was described as a clock and watchmaker, with his obituary declaring him 'a most ingenious man, and esteemed one of the best Mechanics in the North of England.' Joseph had no children, nor did he ever marry, meaning that six months later, all the tools he inherited from his father were sold off, including the famed dividing engine.For further information on this lot please visit Bonhams.com
A good mid-late 19th century French brass table regulator with perpetual calendar and moonphasePhilibert Bally, Paris, and Japy Frères No. 1855The concave cornice over two glazed sides and glazed doors, raised on a moulded brass base. The Roman dial with Breguet style hands and recessed centre with visible jewelled Brocot escapement, signed Pert Bally Paris, the lower dial displaying phases of the moon, month, day, leap year indication and date, personifications of Spring and Autumn painted in delicate colours to either side, all dials sunk into the florally engraved brass mask. The twin spring barrel movement with visible jewelled Brocot escapement, and outside countwheel striking on a bell, the backplate stamped 1855 above the stamps for Philibert Bally and Japy Frères. Striking the half and full hours with a winding key and three bar gridiron pendulum. 42cms (16.5ins) highFootnotes:Antoine-Philibert Bally is first recorded in 1844 at the National Exposition in Paris. It is not known where he served his apprenticeship. In August 1847, he took out a patent for a new method of cutting anchor escapements. He is noted as working out of number 25 Notre Dame de Nazareth at this point. He exhibited at the National Expositions in 1849 and 1851; he also took out another patent in the latter year for his 'étouffoir économique', roughly translated as an 'affordable damper/extinguisher'. In the patent, he is recorded as still working out of number 25 and described simply as a Parisienne horologist. Less then a year later, Bally had taken out another patent, for a mechanical perpetual calendar. He had apparently moved to number 26 and was described as a clock and watch maker. Interestingly, he took the patent out together with Dumouchel, who was described as a Parisienne horologist working out of number 4 Rue de Bretagne. Based on the descriptions, it is possible that Dumouchel had the basic idea for the calendar, and Bally was able to supply the practical knowledge which turned the theory into reality, though this remains speculative. This partnership, if that is what it was, does not appear to have produced more patents; in 1853 Bally took out a patent on his own for a repeating alarm clock, presumably including the new mechanism in his exhibit at the National Exposition of that year. The alarm clock would sound the hour at the appointed time, and then repeat the hour every five minutes until turned off. He is again described as a Parisienne horologist, working out of 25 Notre Dame de Nazareth. This patent seems to have attracted notice; over forty years later, Bally would be grouped together with the likes of Brocot and regarded as an original and inventive horologist. Bally exhibited at the 1855 National Exposition, and his next patent was taken out in 1857, for an eccentric remontoir; unfortunately, the details of this remontoir are not known. His address was listed as 46 Rue de Bondy; it seems likely he moved at some point between 1855-1856. Bally next exhibited at the 1861 exposition, possibly winning bronze, though this is not confirmed. He was still working at 46 Rue de Bondy in 1864, when he patented a new method for turning tallow into stearic acid. Stearic acid has been used as a foodstuff, but also in candle and soap making, the latter most endeavour possibly being how he came upon the method as a working horologist. In this same year, he was advertising the shop as Maison Philibert Bally and boasting a wide range of bronze statues and clock cases, all types of pendulum clocks, candelabras, wood sculptures and a number of different horological curiosities. In April of 1864, he exhibited his stock to the public over two days, before auctioning off a significant amount of it between 25-29 April. The auction appears to have been significant as catalogues were even printed; Catalogue des modèles et surmoulés en bronze de la Maison Philibert Bally, fabricant de bronzes d'art et d'horlogerie. It is unclear if the auction was to divest excess stock or indicated financial need on Bally's part.In 1865, it appears that Bally took out another patent, for a device to improve the precision of bottle making. Unfortunately, no address is listed in the patent application, the application itself being taken out by Vinck, in 33 Boulevard St.-Martin. In 1867, a patent was taken out for an 'Advanced pendulum balance', with Vinck again listed as the representative. This same year, Bally exhibited at the National Exposition, possibly with the pendulum balance. The following year, Bally patented a new type of grande sonnerie movement and his address was listed as 14 Rue d'Aboukir. It appears that this was Bally's new shop, though exactly when he moved in is unclear.In 1872, he took out a patent, again with Vinck's representation, for a new type of candle-lit night clock. This patent was apparently quite a success; Bally was mentioned in an 1875 horology book as one of the preeminent makers of such clocks, the author dismissively noting that Bally 'even made pretensions toward regulating them'. In 1877, a novel bed was patented by a Bally, working out of 83 Rue du Faubourg Saint-Honoré. It cannot be confirmed if this was Philibert, if so, it would suggest another change of address. If this was Philibert, it would be the last patent he took out, as he seems to have died sometime around 1877. One of his patents, the improved bottle making device, came up for renewal in 1879. The renewal was filed by his wife, who was noted as 'the widow Bally'. As there are no other patents filed under Bally's name after this point, or any advertisements placed in trade journals after 1876, it seems likely that he died around this time.The Revue Chronométrique would later remember Bally, around the turn of the century, as a skilled horological innovator, writing several paragraphs about his repeating alarm patent. Regulators appear to have been a preference for Bally; an ebony regulator by him was sold in a house sale in 1892. In the catalogue, the regulator is described simply as being from 'chez Bally'.Firmin-Didot, A. (1857-1880) Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration. Paris: Firmin-Didot frères.(1864) Catalogue des modèles et surmoulés en bronze de la Maison Philibert Bally, fabricant de bronzes d'art et d'horlogerie. Paris: Renou et Maulde.Requier, C. (1898) 'Les Réveils a Répétition', Revue chronométrique: journal des horlogers, scientifique et pratique, No. 496, pg. 11.Anquetin, M. (1875) L'horlogerie : des montres en général, de ceux qui les font, de ceux qui les vendent, de ceux qui les réparent et de ceux qui les portent. Paris: Modeste Anquetin, pg.129. Ministère du Commerce (1851-1880) Catalogue des brevets d'invention. Paris: J. Tremblay.(1864) Le Constitutionnel: Journal politique, littéraire, universel, 19 April, pg. 2. Mannheim, C. (1892) Catalogue des objets d'art et d'ameublement, faïences italiennes et autres, porcelaines de Saxe, de Sèvres, de Chantilly, de Chine et du Japon. Paris: E. Ménard et Cie.La Nature (1905) 'Calendrier Perpétuel Automatique', Revue chronométrique: journal des horlogers, scientifique et pratique, No. 581, pg. 220.National Center for Biotechnology Information (2023) PubChem Compound Summary for CID 5281, Stearic Acid. Available at: https://pubchem.ncbi.nlm.nih.gov/compound/Stearic-Acid.For further information on this lot please visit Bonhams.com
Tolkien (J.R.R.) The Lord of the Rings, 3 vol., comprising The Fellowship of the Ring, fourth impression, 1955; The Two Towers, second impression, tape repairs to pp.159-160, 1955; The Return of the King, first impression with signature mark '4' and sagging text block to p.49, 1955, folding maps at end, modern blue half morocco with red spine labels, gilt, slip-case, 8vo.
Warhol (Andy) The Philosophy of Andy Warhol (From A to B and Back Again), first English edition, signed presentation inscription from the author, "To Robert F with love" and "London 1975" with a large soup can drawing "Campbell's Pea Soup" in black felt tip to front endpaper, original cloth, dust-jacket, spine sunned, light damp-staining to spine head and along lower panel top edge, some slight creasing at edges, corners a little bumped with small nicks, Cassell/Dempsey, 1975; with two association A.L.s from previous owner loosely inserted, 8vo (3) ⁂ Rare copy with the Campbell's pea soup doodle, and with a good association. Dedicated to Robert Fraser (1937-1986), the prominent London-based art dealer. Fraser introduced and promoted the work of many important British and American artists, including Andy Warhol, to the British market, and was at the forefront of modern art in Britain throughout the 1960s and 70s. The two letters accompanying this present copy, are signed and written by previous owner Jaine (?)Wilson, in which she testifies that the book was given to her personally by Robert Fraser. She recalls how, "I mentioned to him that it looked valuable and he said 'you don't understand, it would be an unsigned copy that would be valuable'".
Wells (H.G.) The Invisible Man: A Grotesque Romance, first edition, half-title, title in red & black, 2pp. advertisements at end, ink date and embossed stamp to endpaper, one or two spots to half-title, hinge cracked but holding firm, original pictorial cloth, lettered in gilt, slight shelf lean, spine faded, light spot to lower cover otherwise an excellent example, [Hammond B4], 8vo, 1897.
Wells (H.G.) Things to Come: A Film Story Based on the Material Contained in History of the Future "The Shape of Things to Come", first edition, signed by the author and actor Derrick de Marnay on front free endpaper, very light scattered spotting, original cloth, gilt, near-fine, 4to, 1935.⁂ A 'Film Story' based on Wells' future history The Shape of Things to Come which follows a financially devastated Europe threatened with an incoming plague. The 1936 film, Things to Come, was directed William Cameron Menzies and stars Derrick de Marnay as Richard Gordon. "Things to Come qualifies as the first true masterpiece of science fiction cinema." - Gary Westfahl's Bio-Encyclopedia of Science Fiction Film
![Wilde (Oscar) A House of Pomegranates, first edition, [one of 1000 copies], pictorial title, endpapers and other illustration](https://cdn.globalauctionplatform.com/175e1d27-5155-4863-91f2-b02a010cc1cf/6bcb8d31-9030-441f-a8cd-b02a0117cca0/468x382.jpg)
Wilde (Oscar) A House of Pomegranates, first edition, [one of 1000 copies], pictorial title, endpapers and other illustrations by Charles Ricketts, 4 plates by Charles Shannon, bookplate to front free endpaper, previous owner's ink and pencil notes to title verso, original pictorial cloth-backed boards, gilt, a little rubbed, slight bumping to corners and extremities, [Mason 347], small 4to, 1891
Potter (Beatrix) The Tale of Jemima Puddle-Duck, first edition, first or second printing, signed presentation inscription from the author to her governess "for Miss Hammond with love from Beatrix Potter Sept 30th 08" on pictorial endpapers, colour frontispiece, plain title vignette and 26 colour plates, upper hinge broken but holding firm, original grey boards with mounted colour illustration, small chip to spine tail not affecting text, very light rubbing to spine head, [Linder p.427; Quinby 14], 16mo, 1908.⁂ A superb association copy dedicated to Potter's favourite governess. Miss Flora "Florrie" Hammond was Potter's first governess, hired when her younger brother Walter Bertram was born. Potter didn't attend school and had very little contact with children her own age, and Miss Hammond would thus have been a pivotal early influence, teaching her reading, writing and arithmetic until she was 17. Moreover she encouraged her artistic pursuits - it was Miss Hammond who suggested to her parents that an art tutor was hired to give formal painting and drawing lessons. After leaving the family Beatrix and Miss Hammond continued to correspond with occasional visits to one another. The work is inscribed and dated in the first print window (August-September 1908), denoting it to be a possible first printing.
Dighton (Richard) A London Nuisance, first edition, the set of 6, etchings with original hand-colouring, on wove paper without watermarks, wide margins to each, very lightly browned, occasional spotting, a few very minor marginal nicks and splits, later half red morocco, gilt, by Root & Son, titled in gilt on upper cover, slightly rubbed at edges, rebacked preserving old spine, folio, Thomas McLean, [1835]Provenance:Probably Swann, New York, The Albert Cohen Collection 19th century English Illustrated Books, 15th November, 1990, lot 272 (sold for $770)Sale. Bloomsbury Auctions, London, 7th November 2013, lot 162 (sold for £2,976 incl. premium)
Thompson (G., publisher) The World Turned Upside-Down or The Folly of Man, popular print representing the world upside down in sixteen compartments, with animals behaving like men, flying fishes, women adopting the role of men and the earth above the sky, engraving, on wove paper without watermark, platemark 370 x 465 mm (14 1/2 x 18 1/4 in), old vertical fold with splitting repaired verso, scattered spotting and surface dirt, unframed, [circa 1790 or slightly later]⁂ Scarce at auction. The theme of the "inverted world", where horses joust while riding men and oxen become butchers, was first seen in the late 16th century and continued will into the 18th and 19th century. We can trace only one other copy, held in the British Museum, London.
Chagall (Marc) Lithographe I, first edition, 12 lithographs and illustrations by Chagall, original cloth, dust-jacket, light creases and nicks to edges, otherwise excellent, 4to, Paris, André Sauret, 1960.⁂ For Chagall, the medium of lithography did not come easily. Printer Fernand Mourlot ran a lithography press where Braque, Matisse, Picasso, Miró and Chagall came to have their designs printed and to learn about this still nascent print-making process. "For many long months Chagall came and worked tirelessly, and his dissatisfaction allowed him to have only a few of his first attempts printed" (Sorlier, 45). This is the scarce first volume of the 6 vol. set which were issued separately over a period of 26 years.
δ Pratchett (Terry).- Kidby (Paul) Original artwork design for the front cover of "The Pratchett Portfolio", acrylic on prepared artists' board, depicting several Discworld characters including Death, Rincewind, Mustrum Ridcully, Esmerelda Weatherwax, Gytha Ogg, Magrat Garlick, the Night Watch, the Octavo and the Librarian surrounding a blank area that would feature the book's title in the published cover with clear overlay with the artist's signature in ink and printed cut-out of Great A'Tuin in the upper centre that covers the blank area, 445 x 355 mm (17 1/2 x 14 in), minor rubbing to corners, unframed, 1996⁂ Striking original artwork by Kidby, his first design for any Discworld title. Kidby would become the principal dust-jacket artist for the Discworld books following the death of the original illustrator, Josh Kirby, in 2001. δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
![Gill (Eric) Collection of 14 wood-engravings, including a first state impression of 'The Deposition' before the halo [P. 289]](https://cdn.globalauctionplatform.com/175e1d27-5155-4863-91f2-b02a010cc1cf/0eb98437-b77b-4374-9a60-b02a011a4a23/468x382.jpg)
Gill (Eric) Collection of 14 wood-engravings, including a first state impression of 'The Deposition' before the halo [P. 289], three impressions of 'Venus' including one proof before correction to nose [P. 290], proof impressions of 'Adam' and 'Eve' printed on the same sheet but separated [P. 265 and 266], 'Woman with Balloons' signed in pencil and numbered '16/25' [P. 387], a later impression of 'The Bee Sting' [P. 292], six variant impressions of an unidentified print of a couple making love showing penetration, one initialled in pencil and numbered '3/7' and with an encircled number 2, all on various papers, most with good margins, all unframed, circa 1923-1924 (14)
Robinson (William Heath) Four "Rough Sketches" for published designs, including "Hope", "Lunch time in the country", "The Crashers", and another showing a lady tucked up in bed, all pen and black ink over pencil underdrawing, all signed and inscribed lower left, some further annotations in pencil with notes regarding colouring, on various wove papers, the first three mentioned each measure approx. 380 x 275 mm (15 x 10 3/4 in), the last sheet approx. 265 x 255 mm (10 1/2 x 10 in), "Hope" with ink stamp verso with return address of 'A.E. Johnson' and inscribed in pencil '[by] W.H. Robinson', occasional marginal nicks and handling creases, two with vertical folds and old splitting to edges, scattered surface dirt, all unframed, [early 20th century] (4)
![Ashendene Press.- Cervantès Saavedra (Miguel de) The First [-Second] Part of the History of the Valorous and Wittie Knight-Er](https://cdn.globalauctionplatform.com/175e1d27-5155-4863-91f2-b02a010cc1cf/26f9367e-e0d3-40cb-90a0-b02a0118824c/468x382.jpg)
Ashendene Press.- Cervantès Saavedra (Miguel de) The First [-Second] Part of the History of the Valorous and Wittie Knight-Errant Don-Quixote of the Mancha, 2 vol., translated by Thomas Shelton, 2 vol., one of 225 copies, printed in red and black in Ptolemy type in double-column, woodcut borders and initials designed by Louise Powell and engraved by W.M.Quick and George H.Ford, original crushed dark green morocco, by W.H.Smith & Son, spines titled in gilt with seven raised bands, uncut, one or two small scuffs, slight rubbing to edges, [Hornby XXXVI; Franklin p.241], folio, Ashendene Press, 1927-28.⁂ The first Ashendene Press book printed in Ptolemy type, designed after Holle's 1482 edition of Ptolemy's Geographia.
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