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Lot 170
DEREK HUDSON: LEWIS CARROLL AN ILLUSTRATED BIOGRAPHY, London, Constable, 1976 new illustrated edition, original cloth d/w, plus JOHN PUDNEY: LEWIS CARROLL AND HIS WORLD, London, Thames & Hudson, 1976 first edition, original cloth d/w plus COLIN GORDON: BEYOND THE LOOKING GLASS REFLECTIONS OF ALICE AND HER FAMILY, San Diego, Harcourt Brace, 1982, original cloth d/w (3)
Lot 171
ELIZABETH COBBOLD NEE KNIPE: SIX NARRATIVE POEMS BY ELIZA KNIPE THE VIZIR, THE VILLAGE WAKE, THE RETURN FROM THE CRUSADE, THE PRUSSIAN OFFICER, ATOMBOKA AND OMAZA, HUMANITY, London, 1787 first edition, printed for the author, dedication to Sir Joshua Reynolds, subscribers list, half title, 4to, contemporary calf back marble boards worn, scarse
![[ANDREW RAMSAY]: THE HISTORY OF HENRI DE LA TOUR D'AUVERGNE VISCOUNT DE TURENNE MARSHAL-GENERAL OF FRANCE, London, printed by](https://cdn.globalauctionplatform.com/d0ec2406-3ed7-4541-b523-af8600f80bd6/698d6dd6-787e-4f7c-96aa-afad00a76be5/468x382.jpg)
Lot 182
[ANDREW RAMSAY]: THE HISTORY OF HENRI DE LA TOUR D'AUVERGNE VISCOUNT DE TURENNE MARSHAL-GENERAL OF FRANCE, London, printed by James Bettenham, 1735 first edition, 2 vols, old diced calf gilt, spine gilt in compartments, inner dentelles gilt, both vols with part loss of back strips, vol 2 top board loose, armorial book plates of Edgell Wyatt Edgell (1769-1853) (2)
Lot 187
JANET CHANCE: THE COST OF ENGLISH MORALS, London, Noel Douglas, 1931 first edition, signed and inscribed verso on half title, further inscribed below title "Or Janet Kicks the Bucket of Convention", original cloth, vgc, Janet Chance (1886-1953) a feminist writer who wrote various books re women's sexuality including The Cost of English Morals which was banned in Ireland plus SIGMUND FREUD: KLEINE SCHRIFTEN ZUR SEXUAL THEORIE UND ZUR TRAUMLEHRE, Wien, 1931 Internationaler Psychoanalytisher Verlag, 3pp adverts at end, original cloth, spine dulled (2)
Lot 199
JAMES WILSON KING: THE WAR-SHIPS OF EUROPE... REVISED AND COLLATED THROUGHOUT WITH ADDITIONAL NOTES BY AN ENGLISH NAVAL ARCHITECT... Portsmouth, Griffin & Co, 1878, first edition, 24 plates including 2 folding as called for, original pictorial cloth gilt plus SIR WILLIAM CUSAC-SMITH: OUR WAR-SHIPS, London, Kegan Paul Trench & Co, 1886, first edition, original blind stamped cloth gilt, plus SIR EDWARD JAMES REED AND EDWARD SIMPSON: MODERN SHIPS OF WAR WITH SUPPLEMENTARY CHAPTERS AND NOTES BY JAMES DOUGLAS GERROLD KELLEY, London, Sampson Low Marston Searle & Rivington, 1888, first edition, 18 plates, many text ills, original pictorial cloth gilt plus HERBERT JAMES GILBERT CORBETT: NAVAL GUNNERY, London, George Bell & Sons, 1897, first edition, 12 plates, may text ills, original blind stamped cloth gilt plus LEWIS RANSOME FREEMAN: STORIES OF THE SHIPS, London, John Murray, 1919, first edition, original cloth, d/w, (small part losses) (5)
Lot 2
REV CHARLES LUDWIDGE DODGSON "LEWIS CARROLL": ALICES ADVENTURES IN WONDERLAND, ill A E Jackson, London, Humphrey & Milford, 1932 reprint, 12 coloured plates as list, original cloth gilt, spine dulled, plus HAMPDEN GORDON: THE LOST PRINCESS, ill George S Dixon, London, John Murray 1933, first edition, 4 coloured plates as list, original cloth gilt, spine dulled plus ISABEL HOPESTILL CARTER: ALL SAILS SET, London, Hodder & Stoughton, 1934, first edition, 3pp adverts at end, original cloth plus GUNBY HADATH: MAJOR AND MINOR, ill Reginald Mills, London, Oxford University Press, 1938, first edition, original decorative blue cloth, plus JEFFERY FARNOL: PORTRAIT OF A GENTLEMAN IN COLOURS, London, Sampson Low Marston & Co, [1935], first edition, original cloth gilt, d/w, plus HANS CHRISTIAN ANDERSEN: THE NIGHTINGALE, ill Rene Cloke, Leicester, Edmund Ward [1945], first edition, original cloth back pictorial boards, plus ELIZABETH KYLE: THE MIRRORS OF CASTLE DOONE, London, Peter Davies, 1947, first edition, original cloth, d/w (part losses and closed tears) (7)
Lot 407
Courvoisier Erte Collection, Vigne No.1Designed by the late Art Deco artist ErtePresented in original gift box1x75clPart of a set of limited edition Courvoisier bottlings designed by the leading Art Deco artist Erte, who sadly died shortly after the first edition was released. Some of the eaux-de-vie used date back to 1892, the year of the artist's birth. These bottles are highly sought-after by collectors.
Lot 272
§ Lady Rose Henriques (1889-1972)The Clothes Sale, East Londonsigned and dated 'HENRIQUES 60' (lower left)oil on board50 x 60cm The daughter of James Henry Loewe, a banker’s agent from Brighton, and Emma (née Immerwahr) a transplant from Beuthen in Upper Silesia, Rose Louise Henriques (née Loewe) was born in Stoke Newington, London, in 1889. Born to a prominent Jewish orthodox family, Rose was both encouraged to explore her passions and talents and was afforded the practical and financial resources to do so. After showing early promise as a musician, Rose, then aged 16, was sent to live with her aunts in Breslau (now Wrocław) where she trained as a pianist and became fluent in German. However, her musical education was interrupted when, in 1914, just prior to the outbreak of the First World War, Rose was forced to return to London.It was shortly after her return to the United Kingdom that Rose met her future husband, Basil Henriques. Basil, himself a philanthropist concerned with social work, quickly convinced Rose to abandon any professional artistic aspirations and, instead, dedicate herself to a life of altruistic pursuits. In March 1914, Basil had established the Oxford and St George Jewish Boys' Club at 125 Cannon Street Road, Stepney, the aim of which was to offer education, recreation and holidays to the deprived Jewish children of London’s East End. In 1915, a year prior to the pair’s marriage, Rose founded a corresponding group for Jewish girls and was instrumental in the management and day to day running of both clubs, whilst Basil was fulfilling his military duties. Once reunited and married, the pair established the St George's Jewish Settlement which offered broad and far-reaching welfare services including mother and baby welfare, help for the aged, the promotion of education and participation in Jewish religious life and in the arts. Initially based in Betts Street, in 1929 the premises of the settlement moved to Berner Street, which was subsequently renamed Henriques Street in recognition of Rose and Basil. In addition to her local social work, following the Second World War, Rose travelled to Germany where she worked alongside several Jewish welfare groups at the former Bergen-Belsen concentration camp and later, upon her return to London, was appointed as the chair of the British Ose Society for promoting mental and physical health and foundered Workrooms for the Elderly in east London. In 1964, Rose was awarded the Henrietta Szold Award for services to the Jewish community and in 1971 was awarded the CBE for her social work in the East End.Although Rose committed much of her life to philanthropy, she continued her artistic practice and could often be found snatching lively vignettes of everyday life in the nearby Jewish communities of Aldgate, Spitalfields and Whitechapel. Although best known for her striking depictions of wartime London, witnessed first-hand during her roles as a VAD nurse in the First World War and as an air-raid warden in the Second World War, the present lot offers an important and fascinating insight into Jewish life in London during the latter half of the 20th century and is demonstrative of her bold use of colour and assertive handling of paint.Some typical surface dirt and some yellowing of the varnish layer commensurate with age, would benefit perhaps from a very gentle clean. One very small loss of paint om the top left corner (see image five) and on or two very minor accretions visible under strong light, mostly localised to the top half of the board, otherwise in nice, presentable condition.
Lot 277
§ Simon Bussy (1870-1954) An Asian Fairy-bluebirdsigned with monogram and dated 40 (lower left)oil on board26.5 x 21cmProvenance:Purchased directly from the artist by Pamela, Lady Glenconnor (1903-1989)by whom gifted to Anne, Lady Glenconner (1932-)and by descent within the family to the present ownerBorn to a family of shoemakers in Dole, France, during a period in which the provincial bourgeoisie classes were rapidly expanding, Simon Bussy was the first in his family afforded the opportunity to liberate himself from the restrictive shackles of the family trade. Although an accomplished painter of portraits and landscapes, it is for his small-scale studies of animals, particularly those of birds and reptiles, that Bussy is perhaps best known today.As a young man, Bussy was awarded a scholarship to study at the local drawing school, before travelling to Paris to study under Gustave Moreau at the École des Beaux-Arts. Whilst he gained valuable experience under Moreau, the Symbolist works of his mentor were of little consequence to Bussy, who cited Japanese prints and the works of painters, such as James Abbott McNeill Whistler and Edgar Degas, as his primary influences.After a successful solo exhibition at the hugely influential and innovative Galerie Durand-Rue, in 1901, Bussy left Paris for London. Upon his arrival in the city, Bussy was quickly introduced to the fashionable Bohemian scene by his friend and fellow artist, William Rothenstein. It was during this time that Bussy was introduced to Dorothy Strachey, who, in 1903, would become his wife. As a novelist in her own right and as the sister of Lytton Strachey, Dorothy and Simon were closely associated with the Bloomsbury Group and would often host members, including Vanessa Bell and Duncan Grant, at their marital home, Le Souco, in Roquebrune, near Monaco.Alternating between Roquebrune and London, it was in the United Kingdom, specifically at London Zoo, where Bussy is known to have created most of his animal studies. Discussing these works, Bussy wrote: “Every work is an invention, a poetic composition, not only decorative. In the animals I paint and in the environment around them there is no element that has not been the subject of a patient observation”. Indeed, through his bold and confident presentation of colour, simplification of form and space and the meticulous and nuanced interpretation of the character of each animal, the present lots demonstrate the seamless confluence of the formal and the more ineffable and totemic qualities that have made Bussy’s works so collectable.The board with a light layer of surface dirt and some negligible accretions (mostly isolated to the lower left quadrant). Paint layer appears in good order overall, though there are some networks of very fine cracks largely located to the sky and buildings. Colours appear bright and strong. See additional images.
Lot 283
§ Sir Cedric Lockwood Morris (1889-1982)Benton End; the reverse painted with a floral still life attributed to Lucy Harwoodoil on board, unframed53 x 42.5cm Provenance:Sir Cedric Lockwood MorrisCollection of Lucy Harwood and thence by family descent to the current ownerRecognised as one of the most proficient and technically sensitive painters of the natural world and known internationally by the title ‘Artist-Plantsman’, the legacy and influence of Cedric Morris, both during and after his lifetime, cannot be understated. Indeed, the present lot issignificant not just in terms of its Benton End subject matter, but also it is demonstrative of the bond he shared with painter, Lucy Harwood.Born inSwansea in 1889, to parents George, a prominent industrialist, and Wilhelmina, a highly accomplished needleworker, Morris enjoyed a comfortable childhood. Despite his innate gifts for painting and horticulture, Morris had initially aspired to join the military, though owing to health issues caused by a failed childhood operation, his application was denied. Adrift, Morris travelled widely during this period, working in a succession of jobs including as a farmhand in Ontario and as a dishwasher and bellboy in New York. Morris quickly learned, however, that this itinerant lifestyle did not appeal to him and he soon returned to England. After a brief sojourn at the Royal College of Music where he studied singing, Morris finally dedicated himself to painting and, in 1914, travelled to Montparnasse, Paris, to train at the Académie Delécluse. With his studies interrupted by the First World War, Morris found himself once again back in England and in 1918, he met Arthur Lett-Haines. In spite of Lett-Haines’ marriage to his wife, Aimée, the pair fell in love instantaneously, with Morris claiming that whilst before he had been ‘asleep’, now, ever the botanist, he had 'sprung to life'.Shortly after meeting, Morris and Lett-Haines left their Newlyn home to travel to Paris. Whilst the pair, who had become beloved in artistic circles due to their peculiarly British eccentricities, enjoyed commercial and critical success in France, it was their 1937 move to Dedham, Essex, that would cement Morris’ reputation as one of the most innovative and compelling cultural figures of the twentieth century.In 1937, Lett-Haines and Morris initiated their most ambitious project - the establishment of the East Anglian School of Art. Initially located in Dedham, Essex, the school was moved to a 16th century farmhouse, near Hadleigh in Suffolk called Benton End in 1938. It was here that the school was run for some 40 years and is said to have had a hand in fostering the talents of some of the most highly regarded painters of post war Britain, including Lucian Freud and Maggi Hambling. Benton End quickly became a sanctuary for “artists outside the system” and offered a space for students to both live and work. Morris and Lett-Haines promoted the exchange of artistic ideas and techniques and took a free-rein approach to teaching which was poles apart from the more formal and structured training offered by most academies at the time. Quickly, Benton End became an established community with artists, horticulturalists and writers heading to Suffolk, with famous alumni including the likes of Frances Hodgkins, David Carr, Richard Chopping and Valerie Thornton.Lucy Harwood was one of the first artists to join the group in 1937, aged 43, and was one of the school’s longest serving students. She was regarded as a Benton End institution, according to Maggi Hambling, and was a fierce individualist. Like Morris, Harwood had also suffered from serious health due to a botched surgery. For Harwood, the implications of this medical failure were enormous and she was left partially paralysed on her right side, which, like Morris, had forced her to abandon her childhood ambition of working as a professional pianist. However, the notoriously tenacious Harwood did not allow this to crush her artistic aims, rather, she painstakingly taught herself to paint using only her left hand.Regarded as a stalwart of the Benton End Group and sharing a number of personal and artistic similarities with her tutors, Harwood, unsurprisingly, formed a close friendship with Lett-Haines and Morris. Over a period of years at the school, Harwood acquired and was gifted a collection of paintings by the pair. Upon her death in 1972, however, the large majority of the paintings were returned to Morris and Lett-Haines. It is believed that the present lot was left with the Harwood family due to floral composition on the reverse, which has subsequently been attributed to Lucy Harwood.Depicting the farm buildings at Benton End on one side, and a floral still life on the other, the present lot demonstrates both the confident handling of paint and the compositional mastery that has secured Morris’ abiding popularity. A similar example, dated 1947, can be found at Ipswich Art Gallery.Morris: In good overall condition, some typical surface dirt, most evident to the top of the sky area. The extremities of the board have suffered some minor losses. The top right-hand corner has been repaired and a loss filled with chalk gelatin putty and retouched with pigment bound in B72. There are some signs of old worm along the top edge and down the left and right-hand side, but this is subtle and unobtrusive (see additional images). The board is visible in places where the artist has applied paint thinly or not at all.Harwood (attributed): Small vertical split in the board (approx 3cm) in the lower right corner, likewise, beside this there is a dribble of black pigment (approx 5cm) and two further spots. The left hand edge of the board has suffered multiple knocks and losses, similarly, there are small nibbles and one more significant loss along the top edge. There are three or four small worm holes visible along the left and right-hand sides. The paint layer appears to have been covered in white pigment at some point. This has been partially removed but could do with further cleaning to remove all vestiges.
Lot 30
Two Moorcroft Spanish pattern vases, the first of compressed mallet form and decorated over a mottled green ground, impressed and painted marks to the underside 27cm highthe other a narrow stem vase, similarly decorated, painted marks to underside 20cm highThe larger vase in good overall condition, some all over crazing and a fine firing crack (underglaze) around the footrim - see last image. The smaller vase broken and glued with a couple of small losses.
Lot 31
A Clarice Cliff Winston Churchill toby jug, circa 1940, modelled as the First Sea Lord seated on a British bulldog and holding a camouflage-painted battleship, the integral plinth base inscribed 'Going into action and may God defend the right', printed Royal Staffordshire Pottery and Clarice Cliff marks and hand painted 'No 34' to the underside31cm highIn seemingly good condition with no apparent damages or repairs, examined under UV light. Minor crazing only.
Lot 32
The full set of eleven Wilkinson character jugs, designed by Sir Francis Carruthers Gould, depicting the allied commanders of the First World War and comprising Lord Kitchener, holding a jug inscribed 'Bitter for the Kaiser'; Admiral Beatty, holding a shell inscribed 'Dread Nought'; Field Marshall Haig, seated upon a tank, titled 'Push and Go' to the base; Admiral Jellicoe, holding a jug inscribed 'Hell Fire Jack'; Marshall Joffre, holding a shell inscribed '75mm Ce que joffre'; Lord French, holding a jug inscribed 'French Pour Les Francais'; the Rt. Hon. D. Lloyd George, holding a shell titled 'Shell Out!'; Marshall Foch holding a champagne bottle inscribed 'Au Diable Le Kaiser'; General Botha, holding a jug inscribed 'Loyalty'; Woodrow Wilson, with an aeroplane on his lap, the base inscribed 'Welcome! Uncle Sam'; King George V, holding a globe, the base inscribed 'Pro Patria', all with printed marks, facsimile signatures and retailer's marks for Soane & Smiththe largest 31cm highWoodrow Wilson with a small chip to the underside of one wing of the plane, Lord French with some small paint loss to the blue on one Union Jack, Field Marshall Haig with some light paint loss to the propellor handle, otherwise, all in generally good condition, noting some crazing to all.
Lot 57
§ Ivor Abrahams RA (1935-2015), two architectural garden models, the first of a formal garden with central bench, mounted to a hardboard base 25 x 61 x 49cm the second, possibly an insertion for the first, of a ruin within shrubbery, painted papier maché, signed and dated '77 to reverse 26 x 28 x 10cm
Lot 89
§ A set of six Elizabeth II silver champagne flutes by Gerald Benney CBE (1930-2008),London, 1964, retailed by Hardy Brothers, Australia, with plain circular bases and gilt-lined bowls on cast bark pattern stems, 41.9ozt16cm highUnlike many artists and craftsmen, Gerald Benney did not have to wait until after his death, in 2008, to be widely regarded as one of the most renowned gold and silversmiths of the twentieth century. During his exceptional career which spanned over half a century, Benney received both critical and commercial success and was credited as the first British craftsman to simultaneously hold four royal warrants. Prized for its clean, minimalist designs influenced by modern Scandinavian aesthetics and for its characteristic ‘bark finish’, Benney’s work has remained highly sought after by both public institutions and private collectors across the world.Born into a creative family - his father a painter and his mother a silversmith - Benney spent his early years in Hull, before the family relocated to Brighton where his father became the principal of the College of Art. Between 1946 and 1948, Benney studied at his father’s college, though it was under the tutelage of Dunstan Pruden, the Roman Catholic ecclesiastical arts and crafts silversmith, that his talents truly flourished. After a two-year interruption to his studies due to national service, Benney was awarded the Prince of Wales scholarship to study at the Royal College of Art. It was during this time that Benney met fellow students and future silversmiths, David Mellor and Robert Welch. A lively social circle was quickly formed amongst the group of young silversmiths and whilst this proved fertile in the exchange of ideas and techniques, this was not reflected in Benney’s final examinations.Despite the blemishes to his academic transcript from the RCA, Benney continued to pursue his trade and was suitably rewarded with a number of notable commissions for patrons including Christie’s, the ICA and numerous Oxford and Cambridge Colleges. In the late 1950s, Benney was appointed as Consultant Designer to Viners of Sheffield, during which time he produced an enormously popular line of flatware. Celebrated both for its design credentials and its technical innovation, Benney’s mass-market wares utilised the 'no-scrap technique', which allowed Viners to produce items in great quantity with very little waste.His many significant roles included Royal Designer for Industry in 1971, a Professorship at the Royal College of Art (1974-83), the Chairmanship of the Government of India Hallmarking Survey (1981), export advisor to the Malaysian manufacturer, Selangor Pewter, and advisor to The Silver Trust. He was made a Freeman of the City of London and of the Borough of Reading and Honorary Fellow of the Royal College of Art, receiving a CBE in 1995.
Lot 109
Sir Rod Stewart, the original 15ips tape of, by repute, his first recording on 18th June 1964,together with a second copy - track list comprising: Just Like I Treat You, Moppers Blues, Bright Lights Big City, Keep Your Hands Off Her, Don't Tell Nobody, Ain't That Loving You Baby and Worksong - and accompanying photocopied pages of Rowlands' 1964 appointment book, detailing his meetings with Stewart Provenance: Consigned by Jonathan Rowlands who, along with co-producer Geoff Wright, worked with Stewart in his early career. Rowlands states "...together with a second tape, these were to be used as audition tapes for a future recording contract for Rod. As musicians, we used Long John Baldry's Hoochie Coochie Band, led by pianist Ian Armit. The recording engineer was Vic Keery. It was recorded at Pepsi Rush's basement studio (below Joe Mazins bookshop) at 42 Berwick Street, London W1. On the tape you can hear Rod saying "there is somebody knocking on the floor trying to get in!" With my then partner Geoff Wright, we then sent the tape to Decca Records as an audition recording in June 1964. The tape was heard by A&R man Mike Vernon at Decca on 24th June 1964 and the result was we obtained Rod's first recording contract with Decca Records. The first single released then by Decca was 'Good Morning Little Schoolgirl'."Note: These tapes are offered as collectors' items only and no intellectual property rights accompany the lot.
Lot 113
First album (1964) of the Rolling Stones by Decca MONO LK 4605 ~ the vinyl has a red/silver Decca 'ear' label and has KT 'tax' code and the matrix numbers are XARL-6271-2A & XARL-6272-8A and track 4 on the cover is listed as 'I need you baby' which has been crossed out with biro and somebody has written'Mona' ~ both album cover and record a/f
Lot 1831
Good Dutch walnut eight day longcase clock with various complications, the 14" rounded arched dial signed Jan Henkels on the wide silvered chapter ring under six o'clock, enclosing a gilded and foliate engraved centre with calendar work and moon phase apertures, also with a subsidiary seconds dial, over a recessed automata featuring windmills, sailing boats and figures fishing before rural painted scenes, the movement striking the hours on one bell, the first quarter past with one stroke on the same bell, the full hour at half past on another bell, also the quarter to the hour on the same bell, the calendar work is automatic for a thirty-one day month needing to be corrected for other months by pushing round the date ring, the large windmill only operates whilst the clock is striking, the case with foliate carved beaded waisted door, fitted with an oval bronze overlaid figural cast lenticle and also inlaid with a vase of flowers and a reserve of musical instruments, the bombé base with a central foliate inlaid reserve enclosed by boxwood lines and the hood surmounted by a wavy moulded foliate carved cornice and caddy top with blind foliate fret carved frieze, 93" high (pendulum, two weights and winding key)
Lot 233
A first period Worcester porcelain mustard pot and cover c.1770, blue and white decoration in the Three Flowers pattern, with shell mounted joined scroll handle and flower bud finial, crescent mark to base, 3 7/8in. (9.8cm.) high.* Provenance: Labels to base for Roderick Jellicoe, London* Condition: Two tiny chips and discolouration to the edge of two petals on the finial. Small underglaze firing crack at top of handle. Some small glaze scratches. Otherwise good, no other faults.
Lot 234
A matched pair of Worcester first period blue and white junket bowls c.1770, in the 'Pine Cone' pattern, both with shaped rim and moulded scallop shell decoration, one with three groups of vegetables painted to the exterior and bold crescent mark to base, 10in. (25.4cm.) long, the other painted with three sprays of flowers to the exterior and small, pale crescent mark to base, with label for the 'Grant Davidson Collection', no. P567, 9¾in. (24.75cm.) long. (2)* Condition: The first with two kiln chips to edge of footrim. On the other, the collection label has been attached to the base with old clear varnish. No other faults.
Lot 239
A first period Worcester porcelain tea bowl and saucer in the Eloping Bride pattern circa 1765, painted in underglaze blue with pseudo-Chinese pictorial mark within double concentric circles, the saucer 4¼in. (10.8cm.) diameter. (2)* Condition: Small glaze scratch to base of tea bowl. Otherwise in good condition.
Lot 393
Two pairs of Chinese carved and pierced hardwood window shutters probably early 20th century, the first, larger pair each with seven panels, the upper pair of panels with two bats and a longevity symbol, over a pair of large panels with birds and goats in woodland landscapes, flanked by vases of flowers and with bat spandrels, above a pair of smaller panels with fan shaped landscape reserves and a single lower panel with a central shaped reserve with a gazebo in a wooded landscape, within a border of keywork with birds, fruit, a bat, leaves and flowers, 57¼ x 33in. (145.5 x 84cm.); the smaller shutters with eleven small panels carved with horses, bats, longevity symbols and precious objects around a small window, the large panel beneath with an unfurled scroll depicting a pagoda in a wooded landscape, flanked by smaller reserves with a horse and goat, all on a keywork ground, 46 x 32¾in. (117 x 83.2cm.). (4)* Provenance: These shutters were removed from the vendor's parents' property in Shanghai in the 1940s, when they fled the city during the war with Japan.
Lot 464
attributed to Katsushika Hokusai (Japanese, 1760-1849) two sheets of preparatory drawings, ink on paper, one with two studies of an emaciated elderly man, one kneeling being bathed by a child, the other carrying a wooden bucket and towel, plus two studies of elegant ladies, 12 5/8 x 8¾in. (32 x 22.2cm.); the other with a variety of studies including two seated elderly men, a peacock, ducks and other birds, an angry child holding a rock, two labourers and others, 10¼ x 14 5/8in. (26 x 37.1cm.), both stamped in red katakana at the bottom corner with the collector's seal of Henri Vever, framed and glazed. (2)* These are believed to be two of a large series of drawings made by Hokusai for an unpublished book, c.1829, which had formerly been in the possession of the Parisian jeweller and collector of Japanese 19th century art, Henri Vever., whose collection was auctioned in Paris in 1948. A large group of over 100 of these drawings was rediscovered in a private collection in France in 2019 and acquired by the British Museum through a grant by the Art Fund.These drawings were executed at an important moment in Hokusai's career, in a period when he had suffered personal and financial strife and had previously been thought to have been relatively inactive in his artistic pursuits. It immediately preceded a renewed burst of creativity, which led to the famed print series 'Thirty-Six Views of Mt Fuji' (c.1831-1833).* Condition: Light toning to both sheets. Evidence of very light, occasional spotting and slight cockling,light creasing to the first, smaller sheet. The larger sheet with several, small insect holes towards the margins. Both sheets have been matted and framed to a very high standard by Galerie du Monde, Hong Kong.
Lot 490
A pair of erotic subject Japanese Satsuma porcelain miniature bowls first half 20th century, each bowl of plain, cup form, the interiors painted with two bijin on a gilt ground, the exteriors and bases painted with three erotic subject reserves, 2¼in. (5.7cm.) diameter, each in a fitted silk box. (2)* Condition: One with glaze scratch across base. Otherwise very good.
Lot 498
A Cambodian pierced silver purse probably first half 20th century, indistinct impressed mark to underside, of reticulated floral design with birds and a butterfly, chased foliate decoration to the hinged cover, with silver strap, 4½in. (11.5cm.) long, weight 2.85 tr.oz.* Condition: In good condition, with no faults.
Lot 516
Six modern first editions comprising Harris (Thomas), The Silence of the Lambs, pub. NY, St Martins Press, 1988; Furst (Alan), Kingdon of Shadows, 1st ed., pub. London, Victor Gollancz, 2000, signed in ink to title; King (Stephen), Misery, 1st ed., pub. NY, Viking Penguin Inc., 1987; James (P.D.), The Murder Room, 1st US ed., pub. NY, Alfred A. Knopf, 2003; Goddard (Robert), Long Time Coming, 1st. ed., pub. London, Bantam Press 2010, signed in ink to title; and Trevor-Roper (Hugh), A Hidden Life, 1st ed., pub. London, Macmillan 1976, all with d/j. (6)* Condition: - Harris: Toning to upper 2in. of wrapper to front and spine, around author's name. Chip at lower spine and small edge bumps. Foxing to upper and lower edges of inside boards, spotting to end papers.- Furst: Tiny fox mark to half title, slight soiling back of wrapper. Very good copy.- King: Owner's name in ink to ffep. Fine copy in near fine wrapper.- James: Slight toning to top edge of front wrapper. Otherwise a fine copy.- Goddard: A fine copy.- Trevor-Roper: Light edge wear to wrapper and light crease to top of back. Light spotting to back end papers. Otherwise very good.
Lot 518
Defoe (Daniel) The Fortunate Mistress, or a History of Life and Vast Variety of Fortunes of Mademoiselle de Beleau, Afterwards Call'd The Countess de Wintselsheim, being the Person known by the Name of the Lady Roxana, in the Time of King Charles II, printed from the first edition for Constable & Company Ltd., London, Bombay, Sydney 1923, from an edition of 775 copies, t.e.g., engraved frontis., fine full black, gilt lined morocco rebinding, spine gilt with bands, 8vo.* Condition: Binding VG with small indent to front
Lot 519
Cornwell (Bernard) three 1st editions, signed by the author to title, comprising: Sharpe's Company, pub. London, Collins 1982; Sharpe's Eagle, pub. London, Collins 1981; and Sharpe's Enemy, pub. London, Collins 1984, all with d/j; together with three other first editions by the same author, comprising Sharpe's Honour, pub. Collins 1985; Sharpe's Sword, pub. Collins 1983; and Sharpe's Gold, pub. Collins 1981, with d/j. (6)* Provenance: Adrian Harrington, Kensington Church St., London* Condition: Sharpe's Eagle and Sharpe's Gold are price clipped by the publisher and re-priced with a label. All six are in excellent to fine condition, with good wrappers.- Sharpe's Sword: tiny nick to one corner of wrapper and some creases to upper front. Otherwise very good.- Sharpe's Honour with toning to page margins throughout.- Sharpe's Company with slight cockling to wrapper, otherwise excellent.- Sharpe's Eagle with crease at top of front on wrapper and slight bumps to edges of wrapper. Very good overall.- Sharpe's Gold with some fading to spine on wrapper. Thumbmark to fore edge. Bumps to lower edges.- Sharpe's Enemy: Small creases and toning to top edge of back to wrapper and to all edges.
Lot 522
A Chinese blue ground silk gauze dragon robe probably first half 20th century, the blue gauze with a pale gold backing, worked with nine five-toed gold dragons chasing flaming pearls amidst ruyi shaped clouds, flying cranes, bats and the eight Buddhist emblems, above lishui stripes and tumultuous waves, the neck and front flap with a border of gilt dragons, bats, clouds and symbols on a black ground, the sleeves with lishui stripes and plain blue cuffs, 50in. (127cm.) wide cuff to cuff, 55½in. (141cm.) long.
Lot 527
Dicey (Thomas) An historical account of Guernsey, from its first settlement before the Norman conquest to the present time.....to which is added some proper Remarks on Jersey, and the other islands belonging to the Crown of Great Britain on the French coast', pub. London: H. Fenwick's Book Warehouse, No.63 Snow Hill, 1797, second edition, later tan quarter calf gilt with original marbled boards, 16mo.* Condition: Boards rubbed and bumped. New end papers. Occasional spotting throughout.
Lot 560
Fine binding - Forster (E.M.) A Passage to India, 1st ed., pub. London, Edward Arnold & Co., 1924, full gilt-lined red morocco, spine gilt, orig. cloth and spine bound in at rear, 12mo.* Condition: Binding near fine, with a few small light scuffs and a small imperfection to leather at head of spine. End papers replaced. Some spotting to title and first few pages.
Lot 590
A Continental silver gilt and enamel circular box probably Germany or Switzerland, first half 20th century, marks indistinct, the pull-off cover with two Borzoi (Russian Sighthound) dogs, the sides in maroon, 2 3/8in. (6cm.) diameter, weight 2.1 tr.oz.* Condition: No chips or cracks to enamel, indistinct marks, good.
Lot 717
A Worcester First Period porcelain pierced oval basket c.1770, painted with exotic birds in a landscape, twin woven loop handles to encrusted floral and foliate decoration, the pierced sides with interspersed flower heads to outer and various insects to inner, 7¾in. (19.7cm.) long, antique shop and collectors sticker to base.* Provenance: Highgate Antiques, London, June 1999. Original invoice with lot.** Condition: One piece or trellis with hairline, one flower at lower handle with minute / flea-bite nibble to edge, overall good.
Lot 777
A pair of first period Worcester porcelain leaf dishes c.1760, of leaf shape with a naturalistically modelled twig loop handle, painted with three insects, veins in puce, green borders, 6 7/8in. (17.5cm.) long, one having collectors sticker to base. (2)* Provenance: Graham & Oxley Antiques Ltd., Gloucester Terrace, London, Nov. 1996 and Simon Spero, Kensington Church Street, London, June 1996. Original invoices with lot.** Condition: minute flea-bite nibble to one point on one dish, otherwise nothing to note, very good.
Lot 779
A late Victorian oak trench art style cigar box of rectangular form with single full length drawer, the top surmounted with triple cartridge finial and white metal plaque and corners, the plaque engraved 'DERWISH CARTRIDGES --- MADE IN OMDURMAN ---- the first shots fired at Firket 1896 - FROM NANCY TO BOB 1897.', raised on brass bun feet, 10¾in. (27.4cm>) long.* Condition: Good condition.
Lot 784
A pair of Chinese export porcelain models of spaniel pups probably Qianlong period, modelled seated with their tails curled around a hind leg, white eyes, open mouth with tongue showing, each wearing a collar with pendent bell, their fur naturalistically painted in orange, 9¾in. (24.8cm.) high. (2)* Condition: Both with light rubbing to snout area, ear and back of heads, the first with two rubs just above tongue, the other just to the right of mouth, both also with rubbing to right hind legs, overall very good, no chips or cracks.
Lot 1004
Two 19th century mahogany torchère the first with dished top over reeeded and fluted column, on swept tripod base with pad feet, 41¾in. (106cm.) high, the second with dished top over turned column, on swept tripod base terminating in ball and claw feet, 48in. (121.9cm.) high. (2)* Condition: 1st with Split to dished top, 2nd with repaired break to top and repairs to column base/legs.
Lot 1071
Charles Frederick Buckley (British, 1812-1869) The Great Exhibition, Crystal Palace, London, 1851pencil, grey ink and watercolour with gum arabic, heightened with touches of bodycolour, indistinctly signed lower right, modern English hollow frame with shot ornament10 x 21 ¾in. (25.4 x 55.2cm.)* Provenance: M Newman, Duke Street, St James's, London gallery label. Purchased Christie's 18th November 2004, lot 123** Notes: This is the original watercolour after which George Baxter made his famous print of the Great Exhibition of 1851. The print was released on 5th May 1851 only five days after the Exhibition was opened by Queen Victoria on 1st May 1851, therefore Buckley must have executed this watercolour before the actual opening day. The watercolour differs in many ways from Baxter's print; some figures have been removed or replaced and notably the Union Jack in the watercolour was not included in the print. It was sold on Baxter's own stall at the Great Exhibition and for the print itself he was awarded an Honourable Mention. The view is taken from the south-east and shows the south side and east end of the Crystal Place situated in Hyde Park in London. The competition to design the building for the exhibition took place in 1850 however none of the entries were deemed satisfactory. Subsequently a design submitted by Joseph Paxton was amended by contractors and finally accepted by the commissioners. The building was 1,848 feet long and 408 feet wide and covered an area of nineteen acres. Six million people came to the exhibition which showcased the work of 17,000 exhibitors.One of the exhibitors was George Baxter himself, whose stall sold the print of this subject during the first few days of the Exhibition, for which he was awarded an 'Honourable Mention'. In 1854, Baxter produced nine prints entitled 'Gems of the Great Exhibition' including the present view.* Condition: Has not been examined out of the frame. Acidic mount, but no mount burn visible. Some toning visible across the sheet to the sky. A little very light spotting to sky in places. Colours remain very strong. Remnants of possible signature lower right is illegible. Two or three small spots of professional retouching suspected to paint at lower margin at corners, and also a couple to the side margins. These have been professionally executed
Lot 1100
Fine binding - Hilton (James) Lost Horizon, scarce first ed., pub. London, MacMillian & Co. Ltd., 1933, recent full dark green morocco binding with gilt lining and spine gilt with raised bands, orig. cloth and spine bound in end, 12mo.* Condition: Binding in near fine condition, with minor scuffs and scratches. End papers replaced. Some spotting to half title, title and final advertisement page. Very occasional light spotting elsewhere.
Lot 1102
Rowling (J. K.) Harry Potter and the Half-Blood Prince, 1st ed. with d/j, pub. London, Bloomsbury 2005, with 'eleven owls' misprint on p.99; together with the first US ed. of Harry Potter and the Sorcerer's Stone, pub. Arthur A. Levine Books, 1998, later printing, with d/j; plus two other UK Harry Potter first editions. (4)* Condition: - Half Blood Prince:Slight bumping and creasing to head and tail of wrapper and bump to tail of front board. Toning to page edges.- Sorcerer's Stone: Slight edge wear to wrapper. Light foxing to page edges.- Order of the Phoenix: Spine faded. Light toning to fore edge.- Deathly Hallows: Slight curling to wrapper edges. Light spotting to page edges.
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