Joan Mitchell (American, 1925-1992). Lithograph on paper titled "Sides of a River II" from the "Bedford" series, 1981. Pencil signed and numbered 50/70 along the lower right.“I carry my landscapes around with me.†-Joan MitchellJoan Mitchell was a central second generation member of the Abstract Expressionist movement. Her works are distinguished by their forceful, colorful lines, which often earn them comparisons to calligraphy. Unlike many of her Abstract Expressionist peers, Mitchell carefully planned her works, providing a grounded contrast to what at first glance might seem chaotic.Mitchell grew up in a wealthy family in Chicago, the child of a doctor and a poet. She was an athletic child, winning many figure skating competitions throughout her youth. Along with sports, she took an early interest in art, drawing and painting throughout her childhood. Her parents and teachers were supportive of her artistic interests: she staged her first art show at her school when she was only twelve years old.Following high school, she enrolled at Smith College to study English. After two years, she decided to pursue her art full-time and transferred to the School of the Art Institute of Chicago, where she received her BFA and MFA in painting. She continued her education in New York and in Paris, before settling in New York in 1950.In New York, she fell in with the Abstract Expressionist group. She became close with Willem de Kooning and Franz Kline, who became her mentors. She was soon invited to join the Club, an organization of Abstract Expressionist artists. The Club worked together to organize exhibitions, as well as providing a space for artistic discourse and community building. She participated in several notable shows during this period, including Leo Castelli’s Ninth Street exhibition, solidifying her place in the New York artistic scene. In 1952, she had her first solo exhibition at the New Gallery in New York.In 1955, she began traveling back and forth between Paris and New York, and in 1959, she settled permanently in France. She continued to exhibit regularly in both France and in the United States throughout the rest of her career. Her work pushed boundaries, pushing back on her Abstract Expressionist peers just as she pushed back on the artistic establishment. Her works make use of vigorous lines and bright colors; however, unlike many of her contemporaries, her work is frequently rooted in the physical. Instead of solely representing emotions and concepts, they often represent tangible objects, particularly plants and other aspects of the natural world.In "Sides of a River II," the landscape is nearly visible through the abstraction. There is a suggestion of river banks, perhaps populated by bramble bushes, in the tightly drawn black and green bands constraining a looser, flowing central section, smoothed with bright yellow like a river gleaming in the sunlight. "Sides of a River II" is bursting with the movements and textures of its subject matter. In both of these works, through her forceful and striking linework, Joan Mitchell captures the serenity of a sunny afternoon in Bedford, and the sense of content it engendered in her.Unframed; height: 42 in x width: 32 1/2 in. Framed; height: 47 1/4 in x width: 37 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Unframed; height: 42 in x width: 32 1/2 in. Framed; height: 47 1/4 in x width: 37 1/4 in.
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Robert Braithwaite Martineau (British, 1826-1869)The pet of the brood signed with initials, inscribed and dated 'RBM/NOV.59.' (lower left)oil on panel25.5 x 18cm (10 1/16 x 7 1/16in).Footnotes:ProvenanceC.P. Townsend, London.Anon. sale, Sotheby's Belgravia, 25 March 1975, lot 58.ExhibitedLondon, French Gallery, Pall Mall, The Seventh Annual Winter Exhibition of Cabinet Pictures , Sketches and Drawings, 1859.Literature'The Winter Exhibition', in The Athenaeum, 19 November 1859, no. 1673, p. 673.Robert Braithwaite Martineau operated on the fringe of the Pre-Raphaelite circle in London in the 1850s and 60s. He was a year older than William Holman Hunt, who was his close friend and artistic mentor, but died in 1869, aged only forty-three. The present painting is a valuable addition to the corpus of his known works.Martineau was born in London, the fifth son of eight children of Philip and Elizabeth Martineau. He was educated at University College School, and in 1842 followed family tradition by commencing a career as a solicitor. In 1846, however, he decided to devote himself to art, first enrolling as a student at Cary's School, and then two years later at the Royal Academy schools. In April 1856 William Michael Rossetti, writing to William Bell Scott, described a visit to the house in Claverton Street, Pimlico, where Hunt, Martineau and Michael Halliday were then living. As Rossetti explained, 'joined with [Hunt] there are Halliday and Martineau, whom you may have heard of, or possibly seen; the latter an artist, the former something between artist and amateur. Both go in for Preraphaelitism, and both look up to Hunt with a genuine reverence and affection'.Martineau's first recorded painting, Kit's Writing Lesson (Tate collection), was done under Hunt's supervision and took its subject from Charles Dickens's 'The Old Curiosity Shop' (1841). This was followed in 1856 by a second subject on the theme of literacy and the need for education among the disadvantaged sections of community entitled The Spelling Lesson (Musée d'Orsay, Paris). Martineau seems to have worked quite slowly and probably had periods of professional inactivity. He was only an intermittent exhibitor at the Royal Academy, but he did participate in the various independent displays of progressive work that were staged in the later 1850s, including the 1857 Russell Place Pre-Raphaelite exhibition and in 1857-8 the three-venue touring exhibition of British art in the United States. He was a founder member and treasurer of the secessionist Hogarth Club, set up in 1858. Probably his most famous painting was the moral modern-life subject, The Last Day in the Old Home (Tate collection), of 1862 – the narrative of which is unambiguous and which shows a young man, surrounded by wife and children, apparently unmoved by the consequences of his fecklessness.By contrast, The Pet of the Brood is without didactic or moralistic overtones, but instead simply shows a female child, dressed in rustic fashion and standing in the open air with a background of foliage and grass, holding in her left hand a pigeon or dove. A play on words was likely to have been intended, as either or both the bird and the girl may be regarded as the pet – the bird perhaps tamed by the child, or the girl herself, who may perhaps have been the youngest of a number of siblings and the object of loving attention by her brothers and sisters. The mood of the subject is a happy one but without untoward sentimentality. In this sense it marks a progression on the part of Martineau towards a type of work which was more personal and relaxed and which served a purely decorative purpose.We are grateful to Christopher Newall for his assistance in cataloguing this lot.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
Edward Lear (British, 1812-1888)The Campagna di Roma taken from Cervara signed with monogram (lower left); signed, inscribed and dated 'The Campagna di Roma taken from... of Cervara,/looking East to the Sabine Hills/Painted from drawings made on the spot in 1859, 1860; and completed by me for/ Walter Congreve Esq. in 1871/ Edward Lear/ San Remo' (on a label on the reverse)oil on canvas65 x 129.5cm (25 9/16 x 51in).Footnotes:ProvenanceCommissioned directly from the artist by Walter Congreve Esq., San Remo.LiteratureEdward Lear, List of Pictures Painted, 1840-1877, no. 240, as: Campagna di Roma. Quarries of Cerbara.The Elements- trees, clouds, &c.,-silence...seem to have far more part with me or I with them, than mankind.(Edward Lear, 1862, quoted in Vivien Noakes, The Painter Edward Lear, 1991, p. 8)Edward Lear travelled to Rome for the first time in December 1837, and he spent most of his time in the city until 1848, returning subsequently in the winters of 1859-60, 1871 and 1877. Each summer the artist would spend time exploring other parts of Italy. Lear started painting in oil in 1838. His compositions were mostly created in his studio starting from his travel sketchbooks, as per the present lots.The artist was fascinated by the beauty and force of nature that led him to create the most poetic of views and landscapes. Rome and its surroundings acted as a great source of inspiration for Lear and lead him to the creation of his first travel book, Views in Rome and its environs, published in 1841.The present lots were painted starting from sketches made by Lear on the spot in the tufa quarries of Cervara, east of Rome, during winter 1859-60. He wrote 'there is a charm about this Campagna when it becomes all purple & gold, which it is difficult to tear one's self from. Thus-climate & beauty of atmosphere regain their hold on the mind-pen & pencil'1The present and subsequent lots were painted for Walter Congreve Esq., a friend and neighbour of Lear in San Remo, where the artist lived from 1870. Congreve sold Lear a plot adjacent to that of his Villa on which to build the first house the painter owned, Villa Emily. Congreve was the British Vice-Consul in San Remo from 1873 to 1885.A watercolour by Lear of this same area was sold in these rooms in 2014 (Bonhams Knightsbridge, 9 September 2014, lot 31, see fig 1).1 Edward Lear, Letter to Ann, 27 March 1848.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
William Henry O'Connor (British, exhibited 1859-1865)Dante and Beatrice in heaven She, to whom no care of mine was hid, turning to me with aspect glad as fair, bespake me, etc. - Dante's Paradise.signed and inscribed with title on an old label (attached to the reverse); further inscribed 'International exhibition 18??/Class 38/Price 75 Gns/Title of picture- 'Dante and Beatrice in heaven- vide Paradise of Dante.'/Name of artist William H. O'Connor/4 Berners Street. W/Owner of picture -Michael O'Connor Esq: Kingstown-Ireland/Formerly exhibited at Royal Academy. 18(59)' on an old label (attached to the canvas verso)oil on canvas 81.9 x 51.5cm (32 1/4 x 20 1/4in).Footnotes:ExhibitedLondon, Royal Academy, 1859, no. 495.Dublin, Royal Hibernian Academy, 1860, no. 262.William Henry O'Connor was the second son of the stained-glass designer and heraldic painter Michael O'Connor (1801-1867). Michael was a native of Dublin, who went to England in 1823 and studied in the studio of Thomas Willement. By the mid-1830s Michael had returned to Dublin where he practiced stained-glass production and associated craft before returning to England in 1842, first settling in Bristol then moving to London in 1845. He worked with some of the best architects of the time, collaborating with both Augustus Welby Pugin on the glass for St. Saviour's, Leeds (praised by Pevsner) and William Butterfield. He exhibited designs at the Royal Academy in 1846 and 1849, but failing eyesight led to him to retire from the business around 1850.William joined the family firm, which was based at 4 Berner's Street, near Oxford Street, in about 1860, the year after he had shown Dante and Beatrice at The Royal Academy. He subsequently exhibited the picture at The Royal Hibernian Academy in Dublin in 1860 and at an unidentified 'International Exhibition' (date unknown) by which time, according to the original label on the reverse, the work was the property of his father.In the present lot, taken from Canto II of Paradise in Dante's Divine Comedy, we see Dante and Beatrice as she guides the pilgrim on his journey through Heaven; a symbol of Divine Love, she is dressed in white, green and red, the colours of the three theological virtues: faith, hope and charity respectively. She is his companion on his journey to Empyrean, the true home of God and the souls of the faithful.For further information on this lot please visit Bonhams.com
Samuel Palmer (British, 1805-1881)Porta di Posillipo and the Bay of Baiae, Italy, Ischia and Misenum beyond pencil, watercolour and gum arabic heightened with white19 x 41cm (7 1/2 x 16 1/8in).Executed circa 1838.Footnotes:ProvenanceG.D.Harvey-Samuel, acquired circa 1930.Thence by descent through the family.Every landscape painter should see Italy. It enlarges his idea of creation...he sees the sun and air as fresh as from the hand of their maker(Letter from Samuel Palmer to Elizabeth Linnell, 14 July 1838)Samuel Palmer was one of the most innovative and influential British watercolourists. He was largely self-taught and encouraged to experiment in art by his future father-in-law John Linnell, as well as his close friend William Blake.The present lot is a variation of the larger watercolour listed by Raymond Lister as the work exhibited at the Royal Society of Painters in Watercolours in 1843, no. 304, The Bay of Baiae, 19 x 40.9 cm.1. Palmer married Hannah Linnell in September 1837; in early October the couple travelled to Italy for their honeymoon. Palmer painted a series of Italian views both during and after this travels in Italy, which included a visit to Naples in 1848. In a letter to George and Julia Richmond, dated 16 September 1838, the artist wrote: 'I secured a large drawing of Naples - a smaller of the same, also a large view of Baie...' and in a letter dated 9 October 1838 to John Linnell, Palmer noted how, 'We are on the slope of Baiae and I ascertained from Siga. Vianellis details that there are two first-rate views of Baiae from the hill above us'2.Palmer's art was influenced and transformed by this trip. The warm light of the South of Italy translated into a more vibrant palette that characterises his work of the period making it extremely sought after.1 R. Lister, Catalogue Raisonée of the Works of Samuel Palmer Cambridge, 1988, p. 147, no. 416, illustrated, as Ponta di Posillipo and the Bay of Baiae with Ischia and the Promontory of Misenum. 2 R. Lister, The Letters of Samuel Palmer, Oxford, 1974, I, pp. 189-90.For further information on this lot please visit Bonhams.com
Jean Joseph Weerts (French, 1847-1927)Portrait of Monsieur Dominique Jean-Baptiste Hugues in his studio signed and dated 'J. J. WEERTS. 1890' (lower right) oil on panel72.5 x 58.5cm (28 9/16 x 23 1/16in).Footnotes:ProvenancePrivate collection, UK.ExhibitedParis, Palais des Champs-Élysées, Salon, 1890, no. 2423, as Portrait de M. J. Hugues.LiteratureFirmin Javel, 'Salon de 1890', in L'Art français: revue illustrée hebdomadaire, 1890, p. 21.P. Kjellberg, Les Bronzes du XIXe Siecle, (Dictionnaire des sculpteurs) c.1980.Catalogue sommaire illustré des sculpteurs du Musée d'Orsay, Paris, RMN, 1986 (illustrated; no. 175, Jean-Baptiste Hugues: Oedipe Ó Colone).Dominique Lobstein, Défense et illustration de l'impressionisme: Ernest Hoschedé et son 'Brelan de salons', 1890, Dijon, 2008, p. 47 (illustrated).Jean Joseph Weerts, a native of Roubaix in northern France, made his Salon debut in 1872 and was a successful portrait and history painter. Noted for their verisimilitude, his portraits included leading political and society figures. Among Weerts' most famous works is his 1880 depiction of L'assassinat de Marat, now in the collection of the Musée d'Art et d'Industrie, Roubaix.The present lot, depicting the sculptor Hugues, was clearly painted in response to a bronze bust made by Hughes of Weerts, and exhibited at the Salon six years before. Dominique Jean-Baptiste Hugues (French 1849- 1930) was a pupil of Dumont and Bonassieux, and first exhibited his sculptural work at the Salon in Paris in 1878, and thereafter won numerous national awards.In the present work, Hugues leans against a marble sculpture entitled Oedipe à Colone which he completed in 1885 and was later exhibited at the Musées nationaux, 1888; Musée du Luxembourg, 1890; and Musée du Louvre in 1931. Today, this fine piece can be found at the Musée d'Orsay, Paris. (inv. no. RF 842, LUX 128).The work was praised by the critics at the Salon in 1890.For further information on this lot please visit Bonhams.com
Emile Friant (French, 1863-1932)Portrait of William Rothenstein signed, inscribed and dated 'a Will/Rothenstein/E. Friant/91' (lower right)pastel51 x 32.5cm (20 1/16 x 12 13/16in).Footnotes:ProvenanceThe estate of the artist.By decent through the Rothenstein family.Private Collection, UK.This sensitive and charming portrait of William Rothenstein was drawn in 1891. Emile Friant would have been twenty-eight and the young Rothenstein only nineteen. Rothenstein had left Bradford Grammar School three years earlier and enrolled at The Slade but travelled to Paris in 1889 to study at the Academie Julian where he would meet Whistler, Degas and Toulouse-Lautrec and share a studio with Charles Conder in Montmartre. By this time Friant, who had studied at the Ecole des Beaux Arts in Nancy and been awarded a scholarship to study under Alexandre Cabanel, had already won numerous prizes at the Paris Salon and been decorated with the ribbon of the French Legion of Honour. Sir William Rothenstein was to become a pillar of the British art scene - a regular exhibitor of portraits and landscapes with the New English Art Club, he is credited as a co-founder of the Carfax Gallery and wrote several books including the first English monograph of Goya's work in 1900. He later became principal of the Royal College of Art and Trustee of the Tate Gallery, receiving a knighthood in 1931. A society figure, the National Portrait Gallery now holds more than 200 Rothenstein portraits of notable figures of his age, and his three-part memoirs Men and Memories features anecdotes about Oscar Wilde, Max Beerbohm, James Whistler, Paul Verlaine, Edgar Degas, and John Singer Sargent.The present portrait has remained in the artist's family since it was conceived and provides an interesting insight into the young artist as he stares confidently at the viewer. Rothenstein was well aware even at this tender age of the power of a good likeness, as was Emile Friant – both artists enjoyed the format and both also produced a number of self-portraits over the years.For further information on this lot please visit Bonhams.com
William Etty, RA (British, 1789-1849)Joan of Arc, on finding the sword she had dreamt of, in the church of St. Catherine de Fierbois, devotes herself and it to the service of God and her country oil on canvas298 x 198cm (117 5/16 x 77 15/16in).Footnotes:ProvenanceAccording to Denis Farr, William Etty, London, 1958, the early provenance of the present lot is as follows:Jointly purchased from the artist by Richard Colls, William Wethered and Charles W. Wass for £2,500, 1847Sale, William Wethered, 8 March 1856, lot 150, as Joan of Arc finding the sword.Sale, William Wethered, 27 February, 1858, lot 109.Charles Read (possibly).Sale, 18 May 1885, lot 244, Joan of Arc, bought by Bolton for 20 guineas.Sale, H. S. Ashbee, 19 November 1900, lot 85, as Joan of Arc at the Tomb of Saint Denis, bought by Maple for 14 guineas.Llantarnum Abbey.ExhibitedLondon, Royal Academy, 1847, no. 123.London, Society of Artists, London, 1849, no. VII. Engraved by Charles Wentworth Wass, 1851. The present work formed the left panel of a triptych that stretched across nearly the entire east wall of the Great Room within the Royal Academy of Arts summer exhibition in 1847. The three works were:Joan of Arc, on finding the sword she had dreamt of, in the church of St. Catherine de Fierbois, devotes herself and it to the service of God and her country (no. 123, present lot), Joan of Arc makes a sortie from the gates of Orleans, and scatters the enemies of France (no 124, now in the collection of the Musée des Beaux-Arts d'Orléans), and Joan of Arc, after rendering the most signal services to her Prince and people, is suffered to die a martyr in their cause. (no. 125, location unknown).Originally inspired by Etty's visit to Henry VII's Chapel within Westminster Abbey in 1839, the artist said that 'under the chivalric banners that hang there. Hearing the anthem sung, and looking towards the Grand Portal, I seemed to see her, in imagination.' The artist was to be haunted by this vision of Joan of Arc, so much so within weeks he had worked up the designs of his future triptych. Yet despite his impatience to create the final three large paintings of his colossal nine paintings – which included the Judith triptych, the Sirens and Ulysses, The Combat, and Benaiah – he wasn't to complete it until nearly eight years later. Beset by the increasing demands of his picture dealers, Etty was able to walk in the footsteps of his heroine by visiting France in 1843 with his friend John Woods, taking in Rouen, Paris, Orléans and Saint Denis. The 'pilgrimage' kindled his imagination as he soaked up the history of the areas, sketching as he went, and 'saw all the pictures related to her that had been done in modern times'. and set his thoughts on completing his last great works. As he himself said 'It was something to know you were on the spot where this Heroine trod, and exerted herself in the cause of her country'. It wasn't until a few years later in 1846, that Etty was able to seriously focus down on the three gigantic canvases with the aim of exhibiting them the next year. By this time, his own 'enemies' – those of a severe cough and difficulty breathing – were bearing heavily down on his efforts to complete the canvases. In that Winter, he became so obsessed with the task that he took to rising at five or six o'clock each morning in order to put in as many hours' work as possible. He was all this time reporting increasing affliction by attacks on his 'trachea, bronchial tubes, and throat – with cough and asthmatic accompaniments' and also 'rheumatism'. Yet, he rallied, 'fighting side by side by my inspiring Heroine, have [...] done wonders.'In a letter from Etty, published in The Fine Arts Journal, he describes Joan of Arc as 'the Judith of modern times' with his triptych, 'like all my large pictures, point a great moral lesson to the mind'. In this case, 'the saint, the patriot, and the martyr – that heroic self-devotion to her country and her prince which has stamped her fame!'. In the first canvas, 'I suppose her to have found the sword she had seen in her dream, and invoking the inspiration from heaven which sustained her through her arduous course'. Voices had directed Joan to the church of St. Catherine de Fierbois to find a sword, to which she found the sword of Charles Martel, grandfather of Charlemagne, behind the altar. The hand raised in devotion is reminiscent of Etty's central panel for his Judith triptych exhibited at the Royal Academy in 1827 (now in a ruined state at the National Galleries Scotland) – where Judith raises her sword before beheading Holofernes. In terms of the model for Joan of Art, there is a letter dated 23 November 1845 referring to 'the young lady who so kindly sad' for the head of Joan of Arc. Gilchrist says that this young lady had first been seen in Westminster Abbey and had there struck his fancy as suitable for the head of his chosen heroine. He set his niece – Betsy – on the stranger's track, who traced her to Kensington. Eventually Etty was able to track down her father and received both his and her permission to sit, with the whole process costing him 'no small pain and embarrassment'. The young lady sat for him many times and was remembered for her remarkable 'spirit, colour and force'.Upon exhibition at the Royal Academy, The Times described the expanse as 'instantly arresting the attention' upon entering the room with the 'character of the heroine under these different circumstances [...] preserved with extraordinary skill'. Etty's biographer Gilchrist stated that praise was received by 'lovers of Art, and brother Artists' alike, including Turner, Landseer and Leslie, among others'. Yet the overall Press reviews marks a mixed reaction, with the Examiner identifying the three paintings as the keynote to the whole exhibition, though the left panel 'except in the fine deep tone of colour that pervades it, the compartment on the spectator's left is a failure'. In reviewing the first compartment, the Art Union found the 'countenance shows much fervour and enthusiasm, without anything like theatrical extravagance'. This was a purposeful effect from Etty, who said in a letter that his heroine 'was not sufficiently excited' [as he] conceived her in possession of superior power'. The Literary Gazette noted that it was 'we think, the largest piece we ever saw in the Royal Academy [...] in the first compartment, the heroine wants dignity of person and countenance. The foreshortening from the waist downwards, makes her look short and dumpy'. However, The London Magazine commented that 'the sad episode of heroism [was] wonderfully told; the seizure of the sword is powerfully conceived; the grandeur of the sortie, and the devotedness of the heroine, as her charger gallops over the vanquished and slain foe; and the fervour of the dying heroine; - are all impressive beyond description. There may be defects of drawings in various points of the composition; but the colouring, especially of the flesh, is masterly; and there is a barbaric picturesqueness in the triple scene, which is a startling novelty in British art.'Within ten days, of the work's presentation at the Royal Academy, the triptych had been purchased by C. W. Wass and Richard Colls for the mighty sum of 2,500 guineas, with designs on engraving the works for wider distribution and an ambitious, but failed, plan to tour the works around the country. Wass declared himself bankrupt in 1852; the three panels were subsequently separated and sold.We are grateful to Dr Beatrice Bertram, York Art Gallery, for her assistance in cat... This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Richard Ansdell, RA (British, 1815-1885)Harrison Blair Fishing on the Spean signed 'R. Ansdell./.1855' (lower left) oil on canvas69.5 x 122.5cm (27 3/8 x 48 1/4in).Footnotes:ProvenancePainted for Harrison Blair.And thence by descent to the Great Grandfather of the present owner.ExhibitedLondon, Leicester and Liverpool, The Arts Council of Great Britain, British Sporting Painting 1650-1850, 1974, no. 202.Sotheby's, The British Sporting Heritage. A loan exhibition of Works of Art, 19 December 1984-18 January 1985, no. 275.This present lot is a remarkable painting. Not least for the depiction of an unusual subject, but for the very strong provenance that accompanies it – something of a rarity these days. This is because, until now, the painting has remained in one family throughout. It originally belonged to the Godfather of the present owner's grandfather. The Godfather's great-uncle was a Mr. Harrison Blair who is depicted here fishing on the River Spean. Mr. Harrison Blair was a great friend of the artist, Richard Ansdell – so much so that two of Ansdell's sons were named Harry Blair Ansdell. The first son died of croup in his infancy (the only Ansdell child to die) and the next born – another son – was also called Harry Blair Ansdell. He became a Printseller.Mr. Harrison Blair (c.1812-1870) was a prominent figure in Lancashire society. He was first Chairman of Kearsley Local Board. He was also founder and Chairman of the Kearsley Gas Works and later a Magistrate and, together with his wife, a philanthropist. He was a Manufacturing Chemist at Kearsley together with Richard Ansdell's eldest son (Thomas Chester Ansdell): this probably defines the link between the two families. He was a contemporary of the artist and they became firm friends, both taking estates on the River Spean in the Highlands of Scotland. Both gentlemen loved fishing for salmon, hence this wonderful portrait by Ansdell of his friend standing stoically in full gentleman's regalia in a pool amongst the rushing waters of the river. He is depicted as catching a fine fresh run salmon with a rod which would have been state of the art at the time – probably a 'Whippy' rod of greenheart (a mahogany-type hardwood) rather than the earlier, less yielding, ash and oak. Mr. Blair is ably assisted by his gillie who is kneeling on a wet and slippery boulder gaffing the salmon before it is brought in.Mr. Blair cuts a fine figure in his stylish clothes, grey top hat, starched wing collar and gold fob watch standing unperturbed in icy waters in (I presume) his everyday boots and stockings. He would have been in his late forties, his hair greying already. The gillie is beautifully depicted as he crouches over the boulder in his kilt, getting uncomfortably wet, jostling with the writhing salmon; his Tam O' Shanter and plaid draped over the rocks in the foreground. The salmon itself is a masterpiece of depiction.This is a dramatic painting of a typical fast-flowing major Scottish river carving its way between banks of glowering rock with the ever-present threat of heavy rain, a hopeful touch of blue in the sky and the wheeling flocks of birds, so typical of Ansdell. The water itself is depicted with huge strength and purpose, from the tiny slants of white caught by the wind dripping off the road, to the spray dashing against the rocks and the tremendous power of the current creating eddying surf which can almost be heard. The water itself invites close and fascinating study – it is obvious that Ansdell enjoyed himself immensely when he painted this wonderful and unique study of his friend, Mr. Harrison Blair.We are grateful to Sarah Kellam, great, great Granddaughter to Richard Ansdell RA, for compiling this catalogue entry. For more information on the artist see www.richardansdell.co.uk.For further information on this lot please visit Bonhams.com
Charles Burton Barber, ROI (British, 1845-1894)Only a Shower signed and dated 'C. Burton Barber 1884' (lower right); inscribed 'Only a Shower/C. Burton Barber./1 Tichfield Rd North Gate Regent's' (on remnants of a label attached to the stretcher)oil on canvas60.9 x 76.2cm (24 x 30in).Footnotes:ProvenanceThomas McLean, London. Anon. sale, Christie's, New York, 6 May 1999, lot 64, as No Ride Today.Private collection, UK (acquired from the above sale). ExhibitedLondon, Institute of Painters in Oil Colours, 1884-5, no. 417 (illustrated, no. 34).Charles Burton Barber was in some respects the equal of Sir Edwin Landseer... his private pictures for the Queen were the most satisfactory... for a quarter of a century he was 'commanded' to attend the Royal Palaces to paint pictures for Royalty.(Harry Furniss, Introduction to The Works of Charles Burton Barber, 1896)The present lot is an exceptional example of Victorian genre, by an artist once regarded as the finest painter of animals in Britain. A favourite of Queen Victoria and Prince Albert, Charles Burton Barber succeeded Landseer as the Queen's Painter of Animals, producing numerous studies of the Queen's pets, as well as of her grandchildren. Barber attended the Royal Academy Schools as a young man, winning several medals, and had his first work accepted for exhibition at the Royal Academy in 1866, aged just 20. According to his biographer Harry Furniss, Barber 'loved to paint the stag', but his work was rather eclipsed by Landseer's own highland scenes; as a result, 'Barber came down from the solitude of the northern fastness and took to painting dogs and cats in the studio', much to the delight of Barber's dealers, who 'discovered the fact that the public bought pictures of children and dogs'.While he may have felt pigeon-holed in his choice of subject and driven by his financial responsibilities as a family man - he noted to his brother that 'manufacturing pictures for the market is just the devil' - nonetheless Barber produced an impressive body of work during his short career, conscientious and meticulous in his attention to detail: 'Everything required for the picture was bought or made... days and weeks were spent' to finalise the composition and render every object in the finest detail.Only a Shower is a prime example of Barber's craft; brilliantly rendered, down to the fine details on the objects that adorn the table, the subject is tender while avoiding being over-sentimental. Barber's proficiency at painting animals is self-evident; they are painted with great skill and anatomical accuracy, lending a sense of realism to the scene. As Furniss observes 'Burton Barber was never guilty of humanising his animal.... How perfectly the painter adapts the animal to the part, and yet it remains an animal! Not a muscle... is contorted for effect'.1As well as his regular showings at the Royal Academy, Barber was a frequent exhibitor at the Institute of Painters in Oil Colours (being elected a member in 1883), Walker Art Gallery, Manchester City Art Gallery and the Fine Art Society. Examples of Barber's work in public collections include A special pleader (1893, Touchstones, Rochdale) and In Disgrace (1886, Flyde Borough Council, St Annes, Lancashire).1 The Works of Charles Burton Barber, London, 1896, passim.For further information on this lot please visit Bonhams.com
TWO MILITARY WALTHAM POCKET WATCHES AND A STOP WATCH the first with black dial subsidiary seconds dial, luminous numbers and hands, arrow to the back with number 18290. Case number 5312740, movement number 31642932. the second with black dial subsidiary seconds dial, luminous numbers and hands, arrow to the back with number 21739. Case number 958820, movement number 31477027, (yellowed plexiglass). The stop watch with white dial, arrow to the back with number 3829. Case number 2431 Condition Report: Black dialed Waltham:- movement appears jammed, body dial ok, three painted luminous numeral spots missing. Waltham with yellowed Plexiglass;- randomly starts ticking, but cant be wound. Stopwatch;- doesn't appear to be working, wear to the back of the case.
TWO 9CT GOLD LADIES MARVIN WATCHES the first with silvered dial black Roman numerals and baton hands, diameter 2cm, with integral polished block link strap length approx 16cm. Together with a textured block link strap, silvered dial and baton numerals and hands weight combined with both mechanisms 48.1gms Condition Report: Integral bracelet; intermittent ticking Movements exactly the same. Shiny bracelet, dink to the dial, not winding or ticking, both a bit grubbly. .
AN 18CT WHITE GOLD AQUAMARINE AND DIAMOND RING the emerald cut aquamarine measures approx 9.9mm x 7.7mm x 4.7mm, with trios of diamonds to the shoulders with an estimated combined total of 0.36cts. Hallmarked Birmingham 1963. Finger size L, weight 4.7gms Condition Report: Aqua has a nasty scratch on the first step cut facet, with further abrasions to the top facets and two flea bite chips to the girdle, please see photos for details. Diamonds bright and clean, mount light general wear.
Keith Haring (American, 1958-1990)Galerie Watari Tokyo Offset lithographic poster printed in colours, 1989, on Japanese pearlescent paper, from the edition of 1,000, published by On Sundays Publications, Tokyo, on the occasion of the artist's first solo exhibition at Galerie Watari, Tokyo, Japan, the full sheet, 680 x 517mm (26 3/4 x 20 1/4in)(SH)(unframed)Footnotes:Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com
Käthe Kollwitz (German, 1867-1945)Mütter (Klipstein 135; Knesebeck 140) Lithograph printed in black, 1919, on J. W. Zanders, signed in pencil, Klipstein's first state (of 2), before the addition of the lithographed signature, published by Emil Richter, Dresden, with margins, 507 x 688mm (20 x 27 1/8in)(SH)Footnotes:Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com
Victor Vasarely (Hungarian/French, 1906-1997)Nobel I & II Two screenprints in colours, 1983, each on wove, each signed in pencil, the first numbered IX/XXXV, the second numbered 45/150, each published by Galerie Börjeson, Malmö, each with full margins, 797 x 757mm (31 3/8 x 29 3/4in)(and similar)(SH)(unframed)(2)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Victor Vasarely (Hungarian/French, 1906-1997)Harlequin, from 'Figurative'; Clown with Ball Two screenprints in colours, 1987 & 1986, each on wove, each signed in pencil, the first numbered 259/275, the second numbered 2/275, each published by Galerie Börjeson, Malmö, the full sheets, 847 x 548mm (33 3/8 x 21 1/2in)(and smaller)(SH)(unframed)(2)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Helmut Newton (Australian, 1920-2004)Sumo The book, 1999, comprising 400 duotone reproductions of photographs selected and edited by June Newton, signed in blue pencil on the title page and stamp-numbered '00629' from the total edition of 10,000, first edition, published by Taschen, Monte Carlo, bound as published with cloth wrappers and illustrated dust jacket, housed in the original box with chromed metal bookstand designed by Philippe Starck, overall size 698 x 502mm (27 1/2 x 19 3/4in); stand 508 x 546mm x 546mm (20 x 21 1/2 x 21 1/2in)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Allen Jones RA (British, born 1937)Leg Splash; Kneeling Woman (Lloyd 53 & 54) Two lithographs printed in colours, 1970, each on wove, the first signed, dated and numbered 56/65 in pencil, the second signed, dated and inscribed 'H.C.' in pencil, an hors commerce impression aside from the numbered edition of 75, each as included in 'Europäische Graphik VII', each printed by Curwen Press, London, published by Galerie Wolfgang Ketterer, Munich, and Felix Man, London, with their blindstamp, 660 x 505mm (26 x 20in)(SH)(unframed)(2)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
DIAMOND NECKLACE: FIRST HALF OF THE 20TH CENTURYThe chain of old brilliant and rose-cut diamonds with four principal cushion-shaped diamonds at the front, weighing 3.26, 3.07, 3.02 and 2.92 carats, suspending an old brilliant-cut diamond two-stone pendant, diamonds approximately 25.00 carats total, necklace length 50.0cmFor further information on this lot please visit Bonhams.com
MOSHEH OVED: SILVER DOUBLE SWAN RING, MID 20TH CENTURYDesigned as a pair of swans, with necks entwined, of engraved and hammered finish with gold plated beaks, engraved 'Jill' at the base, ring size L-M, cased by Cameo Corner, 28 Museum Street, LondonFootnotes:ProvenanceHilary Clarke (1925-2015)Descent to the current ownerMosheh Oved (1885-1958), the charismatic owner of Bloomsbury antique shop, Cameo Corner, was an authority on cameos, antique watches and clocks as well as being a writer, sculptor and poet. Whilst sheltering in the basement of Cameo Corner during the blitz, he modelled the first of his animal ring designs out of wax - a lamb on wobbly legs - in order to steady his trembling hands. Later he would add many more animals to his menagerie of rings in both gold and silver. This double swan motif is a rarely seen example. It belonged to Hilary Clarke, the manager of Cameo Corner.Cameo Corner (located at 26 Museum Street, just behind The British Museum) had a world-famous reputation not only for its historic jewels but for its royal, as well as celebrity, connections. Queen Mary, Princess Margaret and Queen Elizabeth The Queen Mother had all been frequent visitors.Hilary Clarke, known as 'Jill' to her friends, was one of the first women to be made a Fellow of the Gemmological Association of Great Britain in 1951. In her early career she worked as a designer for Edward Barnard & Sons of Hatton Garden (1950-1951) and S Root & Co Ltd (1951-1954) before joining Cameo Corner, Bloomsbury as assistant manager in 1954.When Clarke was made a director in 1962 she instigated a series of annual modern jewellery exhibitions which soon became a regular fixture in the trade calendar until the shop eventually closed in 1978. In 2001, in recognition of her contribution in promoting the work of British studio jewellers from the early Sixties until the mid-Eighties, she was awarded The Centennial Medal by the Society of Designer Craftsmen.For further information on this lot please visit Bonhams.com
EMERALD CAMEO AND DIAMOND RING, FIRST HALF OF THE 20TH CENTURYThe emerald carved to depict the head of a bearded man facing forward, within a surround of millegrain-set cushion-shaped, rose and single-cut diamonds, between pierced floral and foliate shoulders, similarly-set, emerald approximately 17.00 carats, French assay mark, ring size I½Footnotes:Accompanied by a report from Gübelin stating that the emerald is of natural Colombian origin. Report number 9704111, dated 30th May 1997.Please note, the report is over five years old and may require updating.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
COLOUR CHANGE SAPPHIRE AND DIAMOND PENDANT, FIRST HALF OF THE 20TH CENTURYThe cushion-shaped colour-change sapphire, weighing 19.44 carats, within a surround of brilliant-cut diamonds, suspended from a knifewire surmount, set with similarly-cut diamonds, on a trace-link chain, mounted in platinum, lengths: pendant 3.5cm, chain 51.7cmFootnotes:Accompanied by a report from The Gem & Pearl Laboratory stating that the colour-change sapphire is of Sri Lankan origin with no evidence of heat treatment, appearing blue in daylight and purple in incandescent light. Report number 20353 dated 21 August 2021.For further information on this lot please visit Bonhams.com
GEORGES BRAQUE: LIMITED EDITION 'MÉSOPATAMIA' NECKLACE, 1963Designed as a series of textured hoops, connected via pairs of textured baton links, signed Héger de Lowenfeld and Bijoux de Braque, titled 'Mesopatamia', numbered R3/75 and LP 0672, rubbed maker's marks, length 56.5cmFootnotes:Provenance:The jeweller, H. Martin, from 30th December 1975;Patrick Dayen and Jacques Lenormand, July 1981;The Hon. Mrs Dorothy Rose Burns, née Duveen (1903-1985);Phillips, Important Jewellery, 31st March 1987, lot 12Literature:Exhibition catalogue, 'Les Bijoux de Braque réalisés par Héger de Loewenfeld' (accompanied with this lot), ill.figs 1, 2 and 4 on page 16; listed as 'R142' on page 28.Accompanied by letters from Evelyne Possémé at the Musée Des Arts Decoratifs in Paris, dated 30th July 1987 and Héger de Loewenfeld, dated 19th May 1988. In 1961, at the age of 79, Georges Braque (1882-1963) began working with Baron Héger de Loewenfeld on a collection of gold jewels derived from his graphic works and lithographs. Each piece was named after a figure from Greek mythology.Few artists have translated their work into jewellery and Georges Braque was one of a select number to do this successfully. While Héger de Loewenfeld was better known as a lapidary than a goldsmith, the pair enjoyed a fruitful working relationship and Braque once referred to him as, 'the extension of my hands'.In March 1963, the jewellery resulting from this collaboration was revealed to the public in an exhibition titled, 'Bijoux de Braque,' at the Marsan Pavilion of the Louvre in Paris. More than 50,000 people attended and the French state purchased eleven pieces of his jewellery.Héger de Loewenfeld also states, '...this piece was estimated in July 1981 by auctioneers, Messrs Patrick Dayen and Jacques Lenormand, as being worth 60,000 Francs at the wholesale price excluding taxes (or export price) or, to date, around 100,000 Francs'.During a sixty year period, 'Dolly' Burns frequently entertained an eclectic mix of academics, intellectuals, politicians and writers at her homes in Ascot, Mayfair and Jamaica. Her dinner parties were meticulously well planned and conversation was never allowed to stray into superficiality or idle gossip. Despite her wealth and status, Burns embraced socialist principles and took a dim view of those who squandered or misused their assets. Her portrait by Augustus John in the National Portrait Gallery, reproduced here, shows a confident and fashionable society hostess in her prime.From an early age, Burns was exposed to the art world in London, which would shape her future as a society figure. Her father was the legendary art dealer, Baron Joseph Duveen of Milbank. Her grandfather was Sir Joseph Duveen, who, together with his brother, Henry, founded one of the world's first international art businesses, Duveen Brothers. He later became a significant benefactor and built the Turner and Sargent wings at Tate Britain. Dorothy Burns survived her second husband - the orthopædic surgeon, Bryan Hartop Burns - by just five months. After her death in 1985, Phillips auctioned a selection of her jewels, which included twelve pieces by Boucheron together with this necklace by Georges Braque, reflecting her taste and appreciation for expert craftsmanship and artist jewellery.For further information on this lot please visit Bonhams.com
Stokes (Leslie and Sewell) 'Oscar Wilde' 1st Ed. Secker and Warburg, London 1937. Preface by Lord Alfred Douglas. First half title inscribed 'For Buck from Sewell Stokes' and signed by Leslie Stokes and Alfred Douglas. Dedication to Norman Marshall and Robert Morley and signed by both. Pencil note on end paper. Some foxing throughout, blue bds, gilt title, corners bumped, top frayed (194 x 130mm)Note: The Play written in 1936 by Leslie and Sewell Stokes is based on the life of Oscar Wilde and was first produced at London's Gate Theatre Studio with Robert Morley playing the part of Oscar Wilde. It transferred to Broadway and was very successful. 'Buck' is presumably John Buckmaster who played the part of Lord Alfred Douglas
'The Builder'. An Illustrated Weekly Magazine for the Drawing-Room The Studio, The Office, The Workshop and The Cottage. First published in London 1843. A long run of 109 Vols. Small Fo. 1843 Vol I to 1913. Vol II 1912 and Vols I & II 1913 missing. Gilt titles. Cloth and leather bound (approximately 35 x 25mm) Ex lib with stamps and labels. Mixed condition with losses (109)
Hemmingway (Ernest) 'The Old Man and The Sea'. Scribner, New York 1952 with d/w (torn). Book of the Month Club Ed. plus Miller (Arthur) 'Death of A Salesman'. Viking Press, New York 1949 with d/w (torn) Book of the Month Club Ed. plus Steinbeck (John) 'The Red Pony'. Viking Press 1945. Illus by Wesley Dennis plus Shaw (Bernard) The Adventures of the Black Girl in Search of God. First Ed. 1932 plus Lampedusa (Giuseppe di) 'The Leopard' with d/w. Collins and Harvill, London. 2nd Imp. 1960 (5)
AFTER HARINGTON BIRD - a set of four coloured engravings "In a fix", "In the first flight", "Over instead of in" and "Forward on", engraved by Eugene Tilly, published 1903, plate sizes 17 cm x 55 cm, together with AFTER HENRY ALKEN "Partridge shooting", AFTER H ALKEN "To the crack riders of England" and AFTER H HALL "The Merry Beaglers"
A collection of eight British First Day covers to include The Channel Islands, Alderney & Guernsey, Jersey and an album of Gibraltar Fist Day covers together with loose Gibraltar First Day covers and others, including British Regiments, famous trains, Maritime England, Metropolitan Police and International Year for Disabled PeopleLocation: 9:5
A large quantity of mixed First Day covers and stamp sets to include 'International First Day covers Honouring Americas Bicentennial', First Day covers from Jersey and Channel Islands and other British Commonwealth stamps and First Day covers together with 'Christmas 1995', '50th Anniversary of the United Nations', UNICEF and others
Venables (Bernard) A Stream of Life, limited edition, illustrated by author, full morocco, slipcase, The Medlar Press, 2002; Another copy, first trade edition, original cloth, The Medlar Press, 2002; Mr Crabtree Goes Fishing, signed limited edition, 50th Anniversary edition, full morocco, slipcase, 2000; Another copy, 50th Anniversary edition, original decorated cloth backed wrappers, 2000; A Pleasure of Fishes, numbered limited edition, illustrated, original green morocco, gilt, slipcase, The Medlar Press, 2006; A Rise to the Fly, signed limited edition, illustrated, original cloth, 2000; Another copy, first trade edition, original cloth, dust-jacket, 2000; A Fisherman’s Testament, numbered limited editon, illustrated, originalcloth, The Medlar Press, 1997;The Illustrated Memoirs of a Fisherman, first trade edition, illustrated, original boards, dust-jacket, 1993, v.s. (9)
Stanhope (John Spencer) Topography, illustrative of The Battle of Plataea, The Plain of Olympia and the Ruins of the City of Elis, 8vo Lond. 1835. First Edn., no engravings, orig. cloth. B.P. With an A.L.s. from J. Mullingen (archaeologist?) to Dean Gaisford dated London July 2nd, 18334. (1)
Rare First Edition of the Author's First Collection of Poemsÿ Locker (Frederick)ÿLondon Lyrics, 8vo Lond. (Chapman & Hall) 1857.ÿFirst Edn., engd. frontis by George Cruikshank, a.e.g., cont. full green straight grained mor., gilt fillet, and corner decoration. Fine;ÿLondon Lyrics, 8vo Lond. 1874. Seventh,ÿPresentation Copy to Members of the Cosmopolitan Club, Thos. Gaisford, No. 48, Signed by Author, orig. boards; also same author,ÿPoems, 8vo Lond. (J. Wilson) 1868.ÿNot Published - One Hundred Copies Only, andÿSigned Presentation Copy, 20pp. 'Opinions of The Press' tipped in at end, orig. mor. backed cloth boards; andÿPatchwork, 8vo Lond. (Smith Elder & Co.) 1879.ÿL.P. Copy, hf. title,ÿPres. Copy to Thos. Gaisford, as Member of the Philibiblon Society, Signed by Author,ÿ uncut, orig. blind stamp cloth. B.P.'s. All v. good. (4)
Aristophanes:ÿAristophanis Comoediae,... Folio Florence (Per haeredes Philippi Juntae) 1525. Title page cut-down or from a smaller copy, with wd. cutdevice, & with device on end leaf also, the preface by Antonius Francinus Varchiensis in Latin (from another edition?) (30)ff A3 - D8, 373ff (first folio with red coloured head, & initial) cont. full vellum. B.P. with note on paste-down by Thos. Gaisford, stating he acquired this book on 1st June 1806. (1) * This third edition, first published, Venice 1598 by Aldus Manutius, the second in Florence; by Filippo Guinta, 1515.
Irish Botanical: Gaisford (Teresa)ÿHowth Sea Weeds, An important Album of 84 examples of Irish Sea Weeds, collected, dried and mounted by Teresa Gaisford from the Howth area of Dublin in 1857. Each example is identified by its Latin names. Orig. mor. bound cloth Album, 4to As a coll., w.a.f. (1) * There is an A.L.s. from David Jeffrey, School of Botany, T.C.D., dated 1982, after examining the Album, loosely inserted. He makes two comments, "First it is a remarkably comprehensive set for an amateur to collect, and represents a token or index of coastal pollution at that time,"ÿ Secondly, "the date 1857, is the second year of the Professorship in Botany of Wm. Harvey in T.C.D..... I suspect that he might have had a hand in the naming of the collection so fully and accurately..."
![[Muzio] Mutio Justinopolitano - Selva Odorifera, 4to Venice (G.A. Valussori) 1572. First Edn., wd. cut printers dev](https://cdn.globalauctionplatform.com/580d27b1-d218-4e26-8f6c-ad9600b47e6a/6869c191-95d5-4d84-a4f2-ada800e72bb0/468x382.jpg)
Berkeley (George)ÿThree Dialogues between Hylas and Philonous, ... In Opposition to Sceptics and Atheists. Also, to open a method for rendering the Sciences more easy, useful, and compendious, 8vo Lond. (G. James, for Henry Clements...) 1713.ÿFirst Edition First Issue. Title within dble ruled border, [10] 166pp. wd. cut decorations, small worm hole A3 - B1, v. slightly affecting a few letters, orig. tooled panel calf. B.P.'s. A most desirable copy.ÿKeynes 9. (1)
Stephanus (Henricus) Epigrammata Graeca, selecta ex Anthologia, Inerpretata ad verbu, and carmine, ab Henrico Stephano: quaedam & ab aliis. Loci aliquot ab eodem annotationibus illustrati 8vo [Paris] (Henricus Stephanus) 1570. First Edn., Text in Greek and Latin, wd. cut printers device on title, wd. cut heads, [8], 311pp., some cont. m/ss notes, later full vellum, gilt tooled spine, mor. label. B.P. Very good copy. (1)
Illustrated Volumes: Fish - The New Eve, Drawings by Fish, written and Designed by Fowl. Sq. folio Lond. (J. Lane) 1917. Illus. thro-out, cloth backed decorative cold. boards, good; Bateman (H.H.) A Book of Drawings, sq. folio Lond. [1921] Fourth, also More Drawings, lg. sq. folio Lond. [1922]. First Edn., illus. thro-out, orig. pict. boards, spines dam. As a lot. (3)
Bibliography: Blount (Thomas - Pope) Censura Celebriorum Authorum: Sive Tractatus in quo Varia Virorum Doctorum de Clarissimis cujusque Seculi Scriptoribus judicia traduntur. Folio London (R.ch. Chiswel) 1690. First Edn., Hf. title, full title in red & bl. [6], 746, [6]pp, cont. calf, raised bands, upr. joint broken, mor. label. B.P. (1)
Presentation Copy with Letter from Author Wordsworth (Christopher) Athens and Attica: Journal of a Residence There, 8vo Lond. 1836. First Edn., hf. title, inscribed 'From the Author' litho frontis & 2 litho plts., 2 fold. maps & fold. facsimile in colour, & 12pp Catalogue at end, orig. cloth. V. good. (1)
Irish Poetry: Ferguson (Sir S.) Poems, tall 8vo D. 1880; de Vere (A.) The Infant Bridal and Other Poems, 12mo L. 1864, May Carols, 12mo Lond. 1857; Dowling (Sr. Mary Alphonsus) Voices from the Heart, Sacred Poems,12mo Dublin 1880; O'Sullivan (T.D.) Poems, sm. 8vo D. n.d.; & 1 other, some First Edns., cloth. (6)
Budgell (Eustace) Memoirs of the Life and Character of the Late Earl of Orrery and of The Family of the Boyles, 8vo L. 1732. First Edn., engd. port. frontis, advert leaf at end (soiled), cont. calf, joints cracked; Davies - Historical Tracts: by Sir John Davies, Attorney General, D. 1787. First Edn., engd. port. frontis, later full mor. B.P.'s. (2)
Binding by C. Kalthoeber Binding: Butt (George) Poems, 8vo Kidderminster (G. Gower) 1793. Printed for The Author. First Edn., engd. port. frontis. Vol. I, & engd. view as frontis. Vol. II, a.e.g., marble ends, orig. straight grained crimson mor. gilt fillet border raised bands, with ticket of C. Kalthoeber, London. V. good copy. (2)
From Porson's Sale Hoeschelio (David) Eclogae Legationum, ... Cum corollario Excerptorum e libris Diodori Siculi Amissis,... 4to Augustae Vindelicorum (Joannis Praetorii) 1603. First Edn.,? wd. cut device on title, Greek text, cont. full vellum, mor. label, spine painted blue B.P. (1) * Note on front loose blank, 'Porson's Sale, 16s'
![With Original Prospectus for the Workÿ Jamieson (John)ÿAn EtymologicalÿDictionary of The Scottish Language, [- Supplement],](https://cdn.globalauctionplatform.com/580d27b1-d218-4e26-8f6c-ad9600b47e6a/c2c01621-fab1-4ddf-9f15-ada300ab8b75/468x382.jpg)
With Original Prospectus for the Workÿ Jamieson (John)ÿAn EtymologicalÿDictionary of The Scottish Language, [- Supplement], 4 vols. lg. 4to Edin. 1840 [41]ÿSecond Edn., Ed. by John Johnstone. Duplicate title pages, cont. full vellum mor. labels. B.P.'s. A clean copy. (4) * With the original printed 'Prospectus' for the First Edition of this work 8pp 8vo, loosely inserted.
The Correspondence of Thomas GaisfordDean of Christ Church, Oxford(approx. 384 items)Gaisford (Dean Thomas) An extensive collection of letters and other material associated with the V. Rev. Thomas Gaisford (1779-1855), Regius Professor of Greek at Oxford University and Dean of Christ Church.Gaisford was born at the family home, Iford Manor near Bradford in Wiltshire, and was educated at Winchester and Oxford. He became successively student and tutor at Christ Church; was appointed Regius Professor of Greek in 1811; and was Dean of Christ Church from 1831 until his death. He was a noted classical scholar and published numerous works of Greek literature. As curator of the Bodleian Library and principal delegate of the University Press, he was instrumental in securing the co-operation of some distinguished European scholars who were anxious to have their works published in Oxford.Some of the larger files are letters from these scholars and concern the progress of their work and negotiations for its publication. There is also correspondence with other members of the university, particularly relating to Gaisford’s own college. Christ Church, founded by Cardinal Wolsey and refounded after his fall by Henry VIII, is the largest of the constituent colleges of the university, and one of the most prestigious; it is also unique in that it is part of Oxford’s cathedral establishment, and the dean and chapter are its governing body.The collection includes correspondence from a number of individuals associated with Christ Church: Cyril Jackson, a previous dean; Charles Lloyd, Professor of Divinity and briefly Bishop of Oxford; and Robert Peel, a precocious student who had been tutored by Lloyd and proved a useful patron. To these must be added William Van Mildert, Professor of Divinity and Bishop successively of Llandaff and Durham, under whom Gaisford had served as a cleric and to whom he was related by marriage (their wives were respectively aunt and niece).While most of these letters are concerned with academic and administrative issues, some also deal with personal matters. The letters of Charles Lloyd in particular are outspoken in their comments about colleagues and contemporary affairs.Gaisford married in 1815 Helen Margaret Douglas; they had five sons and two daughters. The two elder sons, Thomas and John William, were destined for army careers and there is a file of letters from the Military Secretary, Lord FitzRoy Somerset, dealing with their father’s efforts to secure commissions for them. After his wife’s death (1830), Gaisford married (1832) Jane Catharine Jenkyns, sister of the Master of Balliol College.There is a much smaller collection of letters to Gaisford’s eldest son, Thomas Gaisford of Offington, Sussex (1816-1898), a convert to the Roman Catholic Church. Thomas married in 1859 as his second (of three) wives Lady Emily St Lawrence (d 1868), eldest daughter of the 3rd Earl of Howth. Their eldest surviving son, Julian Charles Gaisford-St Lawrence (1862-1932), succeeded in 1909 his uncle the 4th and last Earl of Howth and came to reside at Howth Castle in Co. Dublin. The following is a Resume of the Archive:LARGER FILESK.W. DindorfKarl Wilhelm Dindorf (1802-1883) was an assiduous and prolific scholar of Leipzig with a lifelong interest in classical Greek literature and an impressive record of publishing modern annotated editions of the ancient texts. His correspondence with Gaisford reflects the latter’s important role as principal delegate of the Oxford University Press in presenting Dindorf’s works to the delegates and negotiating their publication. Letters from Dindorf to Gaisford, 1833-1851, numbered 1 to 45 (nos 1-33 in Latin, the rest in English); with another 15 for 1851-52, ten being in their original envelopes. In all, 60 letters. (The first letter is simply addressed from Leipzig to “Thomae Gaisfordiae, viro illustri, Oxoniam” – but it reached its destination!)With associated papers, including some draft replies from Gaisford; a printed “Advertisement” from Dindorf expressing indignation at the unauthorised reprinting of the 1830 edition of his Poetae scenici Graeci, of which he is about to produce a revised edition (1846); a memorandum from Dindorf to the delegates of the University Press (1848); and a letter of condolence to Gaisford’s widow (1856).Jan Bake and other continental academicsA large file of approx. 80 letters etc. to Dean Gaisford in Latin, with some notes and drafts by him in English, re the projected publication of classical works by the Oxford University Press. Mostly from Jan Bake (1787-1864), Professor of Greek and Roman Literature at Leiden University; also some from: · Friedrich Wilhelm Ritschl (1806-1876), joint director, philological seminary, Bonn; · Carel Gabriel Cobet (1813-1889), Professor of Greek at Leiden; · Friedrich August Nobbe (1791-1878), Professor of Philology at Leipzig; · Jean Théodore Bergman, Leiden· Jan Hendrik Holwerda · Franz Dorotheus Gerlach (1793-1876), teacher of Latin and librarian at Basel· G.A. Hirschig, LeidenAcademic material from Leipzig· Pamphlet: Upsala Academies Catalog 1842· Pamphlet: Invitation to the 25th anniversary of the founding of the Historisch-Theologisches Gesellschaft zu Leipzig 22-23 Sept 1839· Pamphlet: invitation to the 30th anniversary of founding of the Historisch-Theologisches Gesellschaft zu Leipzig, from Christian Friedrich Illgen, 11-12 sept 1844.· Statutes of the Gesellschaft· 25 Sept 1844: Letter naming Gaisford an honorary member of the Gesellschaft, with English translationCyril JacksonCyril Jackson (1746-1819) was appointed Dean of Christ Church in 1783. He declined offers to be made Bishop of Oxford (1799) and Archbishop of Armagh (1800) and remained at his post until he resigned in 1809. He then settled at Felpham in Sussex, where he remained until his death ten years later. 40 letters from Jackson to Gaisford, from his retirement in 1809 until shortly before his death. Also one letter to him from Thomas D’Oyly, 4 Jan. 1818, and a printed circular dated 7 July seeking subscriptions towards a monument in his memory.
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