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Lot 256
Seven framed share certificates, with decorative illustrations to include:- "Barcelona Traction, Light and Power Company 1914", "North Butte Mining Company 1929", "Green Bay and Western Railway Company 1929", "Toledo, St Louis and Western Railroad Company", varying sizes all mounted and framed in matching plain black frames, four unframed certificates to include "The South-Eastern Gold Mining Company Limited"
Lot 3436
1468-1469 AD. First reign, light coinage, type Vd. Obv: facing bust with quatrefoils by neck, within tressure with fleurs on cusps and EDWARD DI GRA REX ANGL Z FRANC legend and 'rose' mintmark. Rev: long cross and pellets with extra pellet in first quarter with POSVI DEVM ADIVTORE MEVM and CIVITAS LONDON legends for London mint. S. 2000; N. 1568; see BNJ, volume 25, p.132. 2.80 grams. With old collector ticket. Very fine.
Lot 3734
Sale dates 13 June 1985 to 17 June 1987 AD. Spink, Spink, London, sale numbers 45, 48, 56 and 59; paperback, publisher's pictorial card, with prices realised; sale 59 with some light annotations. 2.43 kg total, 28 x 21cm each. (11 x 8 1/4"). Ex libris Lord Stewartby (Ian Stewart"). The Norweb sale catalogues are important references in their own right and the collection was one of the finest for English coins ever formed. [4, No Reserve] Good condition; covers shabby.
Lot 691
Ayutthaya Kingdom, 1351-1767 AD. A ceramic Sawankhalok Celadon light green glazed figure of an elephant with square platform to the back with three seated figures of musicians around a central hole, pierced fretwork arch with pointed finial over the platform; on the head a figure playing drums; body of elephant with applied discs and facial features. 455 grams, 25cm (9 3/4"). Property of a London collector, acquired early 1990s. Fine condition, repaired.
Lot 801
9th-12th century AD. A hollow-cast bronze vessel with stem and conical foot, three radiating D-shaped nozzles, central filler hole, three integral loops for attachment of suspension chain attached to a single ring. 299 grams, 11cm (4 1/4"). Property of a North West London gentleman; formerly with a central London gallery in 1990. During the Seljuk period, the arts were encouraged not only by the sultans but also by orders placed by the emirs and members of wealthy merchant families. Cast bronze vessels intended for everyday use were manufactured and decorated with engravings, reliefs, and openwork. Regarding oil lamps in Islam, the Qu'ran (24:35) cites that: “God is the Light of the heavens and the earth. The parable of His light is, as it were, that of a niche containing a lamp; the lamp is enclosed in glass, the glass shining like a radiant star: a lamp lit from a blessed tree - an olive-tree that is neither of the east nor of the west the oil whereof is so bright that it would well-nigh give light of itself even though fire had not touched it: light upon light! God guides unto His light him that wills to be guided; and to this end God propounds parables unto men, since God alone has full knowledge of all things. Fine condition.
Lot 247
18th century AD. A 1796 pattern Light Cavalry officer's sword with curved ground blade with script to the spine 'J.J. Runkel Solingen'; gilt bronze hilt with carved bone or ivory grip, to one face of the blade the royal arms with sprays of foliage, to the other initials 'GR' with crown and stamped crescent, sprays of foliage and a cannon. See Withers, Harvey J. S., Swords and Sabres, Leicestershire, 2011, p.192. 755 grams, 93cm (36 1/2"). Property of an Essex Church Charity, UK; acquired by donation from a parishioner, 2016. The officer's version of the 1796 pattern sabre was lighter than that for other ranks; such weapons would have been used by light cavalry troops during the Peninsula War campaigns and at Waterloo. [No Reserve] Good condition.
Lot 2842
19th century AD. A group of four glazed ceramic tiles combined, with yellow field and arabesque floral borders, standing male figure in tall cap and riding jacket picking a flower with his left hand, right hand gripping his belt; polychrome floral motifs. 5.6 kg total, 35 x 35cm (13 3/4 x 13 3/4"). Property of a North West London gentleman; formerly with a central London gallery in 1990. The Qajar dynasty ruled Iran from 1783 to 1924 and came about after the collapse of the Zand dynasty during a civil war. The Qajars reigned from their newly established capital of Tehran, and with the stability the dynasty brought with it there was renewed building activity and its associated crafts such as tilework. Qajar tilework shows great vitality combining established design traditions with lively new iconography. It was not limited to religious buildings but has been seen in palaces, private buildings and city gates. Fine condition, light abrasion.
Lot 1211
1464-1465 AD. First reign, light coinage, class Vc. Obv: facing bust with quatrefoils at neck within tressure with EDWARD DI GRA REX ANGL Z FRAN legend and 'rose' mintmark. Rev: long cross and pellets with extra pellet in first quarter with POSVI DEVM ADIVTORE MEVM and CIVITAS LONDON legends for London mint. S. 2000; N. 1567. 2.92 grams. [No Reserve] Very fine.
Lot 1271
Dated 1846 AD. Young head, type A3, second head. Obv: profile bust with VICTORIA DEI GRATIA BRITANNIAR REG F D legend with broken O in VICTORIA. Rev: crown over ONE / SHILLING in two lines, within wreath with date below. S. 3904; ESC 6th, 2992 (old 1293); BSC 860. 5.65 grams. Good extremely fine; light tone.
Lot 722
Frans David Oerder (South African 1867-1944) STILL LIFE WITH FLOWERS signed oil on panel 40 by 60cm Though Frans Oerder had spread his subject matter somewhat evenly over the genres of still life, portraiture and landscape before, it was only from 1910 that his still lifes came into their own. This is likely the result of his marriage to Gerda Ptilo in the same year, who was a painter of flowers. Following their wedding, Oerder initiated a series of works in which he experimented in capturing flowers of varying forms in an array of compositions. In Europe, these were to become some of his most celebrated works. Lot 722 depicts a round bowl brimming with yellow daisies, red poppies, white anemones and sprigs of fern and eucalyptus leaves. The somewhat hasty brushstrokes seem to almost highlight the transient nature of cut flowers. This appears to be emphasized even further by the exposed panel, lending the work an unfinished feel. The artist’s signature on the raw wood, however, suggests that the work was, in fact, complete, almost as if it were a reminiscence of the light studies carried out hastily by the impressionists just some decades earlier. - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 212-214 - Scott, F. P., Frans David Oerder (1867 –1944), in Our Art 1, Cape & Transvaal Printers Ltd., 1968, p 85-90
Lot 735
Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) PONT-LA-REDUIT signed with the artist's monogram and dated '20; signed, dated and inscribed with the title on the reverse oil on canvas PROVENANCE from the private collection of the artist's granddaughter 35,5 by 42cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739
Lot 736
Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) CHIMNEY STACKS AND TREES oil on board PROVENANCE from the private collection of the artist's granddaughter 32 by 19cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739
Lot 739
Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) LA BASILIQUE DU SACRE COEUR DE MONTMATRE signed and dated 23 oil on board PROVENANCE from the private collection of the artist's granddaughter 40 by 32,5cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739
Lot 744
Pieter Hugo Naudé (South African 1868-1941) TRANSVAAL HIGHVELD, SPRING signed oil on canvas PROVENANCE Donated by the artist to the Dutch Reformed Church, Heidelberg Gifted to the minister in 1971 and gifted to the minister in 1971, thence by descent to the current owner 35 by 50cm Pieter Hugo Naudé was born in 1869 in the Worcester district of the Western Cape, where he completed his initial schooling. Early on, his talent was recognised and encouraged, most notably by Olive Schreiner, the feminist author, social theorist and anti-war activist. In 1889 Hugo Naudé accompanied Schreiner on a trip to Europe, following which he enrolled at the Slade School of Fine Art before going on to study at the Kunst Akademie in Munich and working briefly in Europe. Upon his return to South Africa in 1896, he would travel by caravan from Worcester as far as the Victoria Falls, spending an extended period in Namaqualand in the Drakensberg, which served as inspiration for some of his most celebrated works. The pioneer of impressionism in South Africa, Naudé’s style was one of intuition rather than science. In lot 744 we see that Naudé was less concerned with the physical properties of light than he was with the sun-drenched colour, fresh air and natural abundance of the landscape with which he was surrounded. Much like in Transvaal Highveld, Spring, Esmé Berman comments that, “It is somehow always springtime in Naudé’s small canvases: the veld blooms, the sky is clear... He chose the picturesque views and revelled in the brilliant splash of wild flowers carpeting the general atmosphere rather than on defining detail. The charm of his works lies in their bracing, open-air freshness as much as in prettiness of content. A sense of composition, stemming from the disciplines of formal training, secures the underlying structure of the picture even when the scene dissolves in coloured flecks of sketchy paint.” - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town 1974, p 203 – 206 - Borman, J., Hugo Naude (1868 – 1941), online, available: http://www.johansborman.co.za/artist-biographies/naude-hugo/1
Lot 1
HOBBS JACK: (1882-1963) English Cricketer. A.L.S., J B Hobbs, one page, 4to, Fleet Street, London, 9th February 1932, to Mr. Sabin, on the attractive printed stationery of Jack Hobbs Ltd. Hobbs confirms that it is 'practically certain' he shall be able to come along on the 26th March and adds 'You need not trouble to look out times of trains as I shall motor down, but you can find a place where I can park my car if you like'. A couple of very minor, slight tears to the edges of the folds, not affecting the text or signature. Together with a vintage signed 3 x 3.5 photograph of Hobbs, the oval image depicting him in a head and shoulders pose wearing his cricket sweater. Signed ('J B Hobbs') in blue fountain pen ink with his name alone to a light area of the image. Some very slight age wear, about VG, 2
Lot 33
FORD HARRISON: (1942- ) American Actor. Signed and inscribed 8 x 10 photograph of Ford standing in a full length pose in costume as Indiana Jones on a rope bridge in a scene from Indiana Jones and the Temple of Doom (1984). Signed in bold black ink by Ford across a light area at the base of the image. About EX
Lot 36
ACTORS: A good, interesting selection of A.Ls.S. (9) and T.Ls.S. (3) by various English actors and entertainers, most dated during the 1960s, including Douglas Wilmer (briefly referring to Sherlock Holmes and also remarking 'Yes, I enjoyed knowing Charlton Heston very much - a delightful man. The medium I prefer is films….' , 22nd January 1965), Ron Moody (stating, in part, 'It was certainly a very nice experience to meet the Queen Mother because she is such a sweet woman and genuinely interested in everyone', 11th April 1961), Jack Wild, Edward Fox, Richard O'Sullivan (stating, in part, 'I am off to America on Sunday….to play Hawkins in Treasure Island, at the moment I am with B.B.C…..but they were good enough to release me. My latest picture is Women Shall Weep. Yes I like Jazz, I also like Judo very much….I must now rush off to the studios, do please excuse me won't you & another thing I hate writing….', 8th February 1960), Richard Wattis (2; in one stating 'I think of all the films, I enjoyed "The Prince & The Showgirl" most….', 1st August 1959), Norman Wisdom, Dennis Waterman (in part, 'I am very sorry I am unable to send you a photograph as I am afraid there hasn't been anyone brave enough to take any of me as yet….My hobbies are playing most sports, horse riding especially, my favourite actor is without doubt Sir Laurence Olivier and my favourite actress is Elizabeth Sellers (sic)….', 30th April 1962), Donald Pleasence, Christopher Lee (referring to his Fan Club and also commenting 'When I played Sherlock Holmes in Berlin, Dr. Watson was played by Thorley Walters', 28th February 1966) etc. Most of the letters have two file holes to the upper edges, generally not affecting the text or signatures, and a few with some light age wear and creasing, generally VG, 12
Lot 6
SPORT: Miscellaneous selection of signed cards, signed postcard photographs and slightly larger, some 8 x 10s etc., by a variety of sportsmen and women including Roger Bannister, Bruce Fordyce, Linford Christie, Steve Ovett, Sebastian Coe, Robert Cohen, Jack Dempsey (vintage signed and inscribed 8 x 10 photograph; the signature a little light although legible), Willie Carson, Lester Piggott etc. A little duplication. Generally VG, 21
Lot 60
SCOTT WALTER: (1771-1832) Scottish Novelist. Autograph Address Panel, unsigned, one page, 8vo, n.p., n.d., addressed in the novelist's hand to Mr. James at 12 George Street, Hanover Square. Annotated and signed to the verso by the original recipient of Scott's letter, 'The writing on the other side is from the hand of Sir Walter Scott about the year 1828. G. P. R. James'. Some light, very minor age wear, about VG George Payne Rainsford James (1799-1860) English Novelist & Historical Writer who was advised by Walter Scott to take up writing as a profession.
Lot 91
DERBY EARL OF: (1799-1869) British Prime Minister 1852, 1858-59, 1866-68. D.S., Derby, one page, folio, n.p., 20th January 1863. The partially printed document is a Licence from the Earl of Derby to Joseph Hughes of Bootle, Lancaster, a Block and Pump Maker, to transfer by way of mortgage his interest in 'the Dwelling House and other Buildings erected therein situated on the north side of Merton Road and containing one thousand nine hundred and eighty superficial square yards or thereabouts and being in Bootle…' following an Indenture of Lease dated 17th July 1857 between Derby and Hughes and the Trustees of the United Permanent Benefit Building Society of Liverpool. Signed by Derby at the foot. Together with Lord John Russell (1792-1878) British Prime Minister 1846-52, 1865-66. A.L.S., J Russell, one page, 8vo, Pembroke Lodge, 12th August 1847, to a gentleman. Russell states, in full, 'I cannot refrain from expressing to you my sense of your public spirit and moderation in withdrawing in favour of Mr. Leigh'. Some very light, minor age wear, VG, 2
Lot 92
DISRAELI BENJAMIN: (1804-1881) British Prime Minister 1868, 1874-80. Signed envelope panel, addressed in his hand to the Revd. J. Owen Parr at The Rectory, Preston, Lancashire and bearing a Penny Red postage stamp and post marked at High Wycombe, 10th October 1869. Signed ('B Disraeli') to the lower left corner. A few light stains and some minor age wear. Together with William Gladstone (1809-1898) British Prime Minister 1868-74, 1880-85, 1886, 1892-94. A.L.S., W E Gladstone, one page, 8vo, London, 20th August 1886, to H. E. Carlisle. Gladstone states that he shall receive with much pleasure at Hawarden a Memoir of Mr. Hayward which his correspondent has been good enough to procure. With blank integral leaf. VG, 2
Lot 95
BRITISH PRIME MINISTERS: Selection of signed clipped pieces by various British Prime Ministers comprising Lord North, Duke of Newcastle, Earl Grey, Duke of Portland, Lord John Russell, Marquis of Salisbury, Arthur James Balfour and Stanley Baldwin ('Baldwin of Bewdley'). Neatly laid down (3) and with some light overall age wear, G to about VG, 8
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