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Click here to subscribeMANUSCRIPT JOURNALS - 2 vols., social accounts kept by the young Elizabeth Siddons Angus, 1899-1903; some 250 leaves used (in the 4to. & 8vo. leatherbound books), the former with a few mounted illus. * initially domiciled in Edinburgh, the writer - with her mother & sister - apparently spent some few years in a pleasant social & shopping gallivant around England, with at least one continental excursion.
PARLIAMENTARY ELECTION - Great Grimsby, 1818; autograph letter of Charles Tennyson (later Tennyson-D'Eyncourt) relating to his (Whig) candidacy in that election, 4pp. (some cross written) & address leaf; together with his autograph manuscript of an Address introducing himself to the local electors, & with the resulting printed handbill (Drury, Printer etc., Grimsby) * the letters recipient was Joshua Plaskitt (the Dock Office, Grimsby), the writer being Alfred Tennyson's uncle.
BRISTOL - a manuscript notebook of some 360pp. used for historical notes on the city; apparently compiled by Joseph Whittuck - his name & date (1775) on front pastedown; old vellum (defective) * the extensive, closely written text by a member of the well-known trade family; covers the mediaeval period up to the beginning of the 19th cent.; together with 2 17th century documents.
Circa 1590 AD. A large gold ring with scrolled pictorial band between the oval main and back bezels; the principal bezel with profile cameo portrait of Elizabeth I with ornate ruff and collar with traces of enamels (possibly once with a crystal inset over the portrait) within an inner border set with cabochon ruby above and garnet below, the sides inset with square turquoise to left and right with rectangular pairs of lapis lazuli and turquoise between (some now missing), the outer border with cells of deep red enamel; the shoulder to right depicting a conch shell and facing figure of crowned Neptune holding trident with blue-green enamel background, supported by two fishes; the shoulder to left depicting a nude female figure reclining in a shell (Britannia as Aphrodite/Venus?) with blue-green enamel background, supported by two fishes; the back bezel with inset oval cameo carved in ancient bone (partially mineralised) depicting a large ship with high sterncastle, three masts and gunports (a British naval vessel?) with empty cells at corners. [A video is available on TimeLine Auctions website] See Scarisbrick, Diana, Portrait Jewels, Thames & Hudson, 2011 and Tudor and Jacobean Jewellery, Tate Gallery, 1995 pl.52 for much information; see Cocks, Anna Somers, An Introduction to Courtly Jewellery, HMSO, London, 1980, pp.24-25 nos.20-21 for details of two Armada jewels and p.27 no.24 for the enamelled cameo portrait Barbor jewel; see Oman, Charles, British Rings, 800-1914 London, 1974 pl.78B, the Earl of Essex ring, for an example of a stone cameo ring given by Elizabeth, with two other examples (78A and 78C); see also Dalton, O. M., Franks Bequest Catalogue of the Finger Rings, British Museum, 1912 no.1358 for the Earl of Essex ring; John Cherry has commented: It is really quite a remarkable ring....the bust looks to be that of Elizabeth I. I would compare it to the bust of the Queen on the Phoenix Jewel in the British Museum....The variety of enamel and stones is interesting. Particularly the use of turquoise and a dark blue stone (lapis lazuli"). David Miller has opined I feel that it is a royal gift from the Queen and by the portrait would judge that the ring dates from about 1585 to 1595. I am pretty sure that the portrait is by the artist Nicholas Hilliard as he designed a number of medals including the 1588 naval reward medal which is the first British war medal (see British Battles and Medals, Spink, 1988 no.1"). 22.42 grams, 25mm overall, 19.50mm internal diameter (approximate size British T, USA 9 1/2 Europe 21.26 Japan 20) (1"). Property of an Elizabeth I coin and artefact connoisseur; acquired London, UK, before 1996; formerly with Richard Hodges of Northampton, UK, prior to 1985 and then held by an eminent Mayfair, London numismatic company. Accompanied by a copy of a receipt letter from R.A. Hodges, dated 26th November 1984; and a positive X-Ray Fluorescence metal analysis certificate. Elizabeth is known to have commissioned jewels for herself, such as the famous locket ring with portraits of her mother, Anne Boleyn and herself (taken from her finger on her death and shown to James I as proof of her death, now held by the Trustees of Chequers, the country residence of the Prime Minister) and to have presented jewels to others; this ring, with its strong seafaring imagery, is very likely to have been presented in 'grateful thanks' to a person of high importance who was directly involved with the defeat of the Spanish Armada in 1588. There is apparently no specific record of this but possible candidates for the gift might include Sir Francis Drake (vice-admiral, who famously refused to interrupt his game of bowls at Plymouth when told of the approaching Spanish ships), Sir John Hawkins (rear admiral) or Lord Howard of Effingham (commander of the English forces who conceded some control to Drake when the English fleet set sail from Plymouth to confront the Spanish); other names for consideration might include Sir Walter Raleigh (Elizabeth's naval advisor and provider of the Ark Royal), Sir Martin Frobisher, Lord Sheffield, Sir Richard Grenville, Sir Robert Southwell, Lord Henry Seymour, Sir William Winter, John Davis or Edward Fenton. The bone cameo forming the back bezel of the ring shows a large Tudor three-masted sailing ship with a high sterncastle and gunports; allowing for the small scale of the image, the picture shows a typical English fighting vessel of the Armada period. It could be that if the ring was presented to a commander of one of the ships fighting off the Armada, then it could represent his own vessel. The English ships taking part in the defence against the Spanish Armada, with their commanders, included Ark Royal (flag ship of Lord Charles Howard of Effingham), Rainbow (Lord Henry Seymour), Golden Lion (Thomas Howard), White Bear (Alexander Gibson), Vanguard (William Winter), Revenge (Sir Francis Drake), Elizabeth (Robert Southwell), Victory (Rear Admiral Sir John Hawkins), Antelope (Henry Palmer), Triumph (Martin Frobisher), Dreadnought (George Beeston), Mary Rose (Edward Fenton), Nonpareil (Thomas Fenner), Hope (Robert Crosse), Swiftsure (Edward Fenner) and Swallow (Sir Richard Hawkins"). Further research might produce a link with a Tudor portrait that could demonstrate ownership. Elizabeth's address to her forces at Tilbury on 9 August 1558 with the knowledge that the ships and army of Spain were about to assault England, is perhaps her most famous speech and, from a surviving manuscript in the British Library written by Dr Lionel Sharp, her words are transcribed: My loving people, We have been persuaded by some that are careful of our safety, to take heed how we commit our selves to armed multitudes, for fear of treachery; but I assure you I do not desire to live to distrust my faithful and loving people. Let tyrants fear. I have always so behaved myself that, under God, I have placed my chiefest strength and safeguard in the loyal hearts and good-will of my subjects; and therefore I am come amongst you, as you see, at this time, not for my recreation and disport, but being resolved, in the midst and heat of the battle, to live and die amongst you all; to lay down for my God, and for my kingdom, and my people, my honour and my blood, even in the dust. I know I have the body but of a weak and feeble woman; but I have the heart and stomach of a king, and of a king of England too, and think foul scorn that Parma or Spain, or any prince of Europe, should dare to invade the borders of my realm: to which rather than any dishonour shall grow by me, I myself will take up arms, I myself will be your general, judge, and rewarder of every one of your virtues in the field. I know already, for your forwardness you have deserved rewards and crowns; and We do assure you in the word of a prince, they shall be duly paid you. In the mean time, my lieutenant general shall be in my stead, than whom never prince commanded a more noble or worthy subject; not doubting but by your obedience to my general, by your concord in the camp, and your valour in the field, we shall shortly have a famous victory over those enemies of my God, of my kingdom, and of my people. Jewels and rings bearing the portrait of Elizabeth I are well known, including 'The Sir Francis Drake Jewel', a locket traditionally held to have been given to Drake by Elizabeth in the late 16th century - possibly associated with the Armada victory; Drake is shown wearing this locket in a portrait dated to 1591 and it contains a portrait of Elizabeth and of her emblem, a phoenix; it is interesting to note that the jewelled border to the locket is inset with stones in a similar manner to this ring. There is also the 'Armada Pendant', a similar locket given by Elizabeth to Sir Thomas Heneage which holds a miniature by Hilliard. Rings include the Earl of Essex example, with a stone cameo portrait and others. Good condition, fine portrait. Unique and historically important
17th-19th century AD. A vellum manuscript of two leaves stitched at the edge to form a single writing surface; ruled dry-point grid with six columns of regular calligraphic text, portion of the biblical Book of Exodus. 176 grams, 99 x 56cm (39 x 22"). Ex Swiss collection; acquired 1980s. Fine condition.
Colonial Medical History - British East Africa - Plague Epidemics - an interesting archive of letters, correspondence and ephemera relating to the career of James Augustine Haran, his studies in Dublin during the 1890's, his appointment as Medical Officer under the Administration of East Africa in February 1898 and subsequent research, notes and writings on plague in the region, including a hand traced map showing the Kisumu Plague 1905, a Public Notice dated 1908 letters between the Foreign Office and the Commissioner's Office Nairobi referring to the disease, a typed manuscript relating to treatment, vellum and paper certificates and many other personal papers
BURNS ROBERT: (1759-1796) Scottish Poet & Lyricist, a pioneer of the Romantic Movement. A rare fragment of a manuscript document, unsigned, one page, slim oblong 8vo, n.p. (Dumfriesshire), n.d. (annotated in pencil at the base in an unidentified hand, 19th November 1788). The boldly penned fragment comprises four lines of holograph text, 'sum of thirty six pounds one shilling & six pence sterlg being the first half of the sum he owes me for the crop he bought of me in Ellisland farm of this year's growth in terms of bargain', and is evidently removed from a receipt originally issued to David Kelley, and bearing his signature at the foot. Very slightly irregularly trimmed to the upper edge, neatly laid down and with some light, uniform age toning, about VG Robert Burns took a lease on Ellisland Farm in Dumfriesshire and settled there in June 1788. In case the farm proved unsuccessful Burns also trained as an exciseman at this time and was appointed to duties in Customs and Excise in 1789, before finally giving up the farm in 1791. During this period, in November 1790, he had written the poem Tam o'Shanter which is one of his longer works and employs a mixture of Scots and English.
GAINSBOROUGH THOMAS: (1727-1788) English Portrait & Landscape Painter, a founding member of the Royal Academy of Arts. Gainsborough was the dominant British portraitist of the second half of the 18th century, surpassing his rival Joshua Reynolds. An extremely rare D.S., Tho Gainsborough, one page, oblong 8vo, n.p., 21st March 1768. The manuscript document, entirely in the hand of the painter, is a receipt for the sum of 'ten guineas' received from Sir John Sebright 'being half payment for a three quarter Portrait.' Signed by Gainsborough at the foot and docketed by Sebright to the verso. Very slightly irregularly torn to the right edge and lower right corner, not affecting the text or signature, otherwise VG Sir John Sebright (1725-1794) British General and Politician, a close friend of the Irish statesman and writer Edmund Burke. Gainsborough's portrait of Sebright was executed in oil on canvas, the image shown within an oval and depicting the subject in a three quarter length pose, wearing uniform, with his head turned towards the viewer. The portrait was exhibited by Sir Edgar Sebright (1854-1917) in the late 19th century and was more recently sold at Sotheby's in New York on 17th January 1992. Sir Edgar Sebright also owned portraits by Gainsborough's great rival, Joshua Reynolds. Autographs of Gainsborough are extremely rare in any form and American Book Prices Current record only eleven examples having been sold at auction since 1975, only one of these being a similar receipt to the present lot. It is also interesting to note that in the recently published biography Gainsborough: A Portrait, the author James Hamilton laments the fact that Gainsborough's letters and other papers were mostly destroyed after his death in 1788.
OSBORNE JOHN: (1929-1994) English Playwright. Autograph manuscript, unsigned, one page, 4to, n.p., n.d. (c.1993). The manuscript page of notes, evidently part of a larger working draft, states, in part, 'Not since the great Lisbon Earthquake of 1755, when the total shaken area was four times that of Europe, (30 people were killed, and 11,000 buildings destroyed within six minutes, has a natural, if freakish phenomenon… caused such apocalyptic hysteria as the catastrophic collapse of the Royal heir's marriage… the latest reading on the Richter-Saxe-Windsor-Coburg scale of one to twelve… have shown as in 1936 a leap from his uncle's score of between six (“felt by all… some heavy furniture moved, damage slight, to nine “damage considerable… buildings shifted off foundations… this has suddenly been identified as the Windsor Fault, first recorded with the abdication of the present heirs uncle in 1936. Applying the Richter scale of one to twelve, this would give a reading of from six… to nine'Together with an A.L.S., John Osborne, to the verso of a picture postcard reproduction of Mark Gerson's portrait of the playwright incorporating the façade of the Royal Court Theatres and their production of Look Back in Anger, n.p., 2nd June 1993, to Karl Heinz Fleitmann. Osborne wishes his correspondent well and sends the page of manuscript ('recent scribbles') which he adds relates to a piece about the monarchy which he had written for an English journal. Scarce in this form. VG to EX, 2
BLYTON ENID: (1897-1968) English Children's Writer. A good A.L.S., Enid Blyton, two pages, 8vo, Beaconsfield, Buckinghamshire, 1st March 1947, to Mr. Goch. Blyton thanks her correspondent for some photostats and remarks 'The pictures are really delightful', continuing 'I really think Harry Rountree is outstanding in his drawing of animals with humour. To my delight both he and I have kept so faithfully to the original stories that I have not had to alter one word of my narrative, & have only added a few words in one place. It must surely be a record that an artist & a writer each working separately on the same stories, should fit in this way!' Blyton concludes 'They are lovely old stories & I enjoyed writing them. I have managed to make them come to 2500 words by missing out a few non-essential bits'. Together with the original photostats referred to by Blyton, the ten black and white reproductions of various sizes (8.5 x 6 and smaller) each showing Rountree's different illustrations, the majority featuring different animals including Br'er Rabbit and Br'er Fox, prepared for one of Blyton's adaptations of the Uncle Remus folktales which were originally compiled and adapted by Joel Chandler Harris. Also including Blyton's original typescript of her adaptation, the manuscript comprising thirteen pages, 4to, n.p., n.d. (1947) and recounts the story of Brer Rabbit and Brer Fox as originally told by Uncle Remus. The typescript bears a small number of holograph corrections by Blyton although is unsigned. An interesting and scarce group of items relating to one of Blyton's books. Some light age wear and a few minor paperclip rust stains to a few pages of the manuscript. Generally VG, 12 Harry Rountree (1878-1950) New Zealand-born Illustrator with a penchant for drawing animals. Rountree illustrated several classics of children's literature, including works by Lewis Carroll, and worked with Blyton on a number of her books. Blyton published several adaptations of the Uncle Remus stories between 1934 and 1963, the closest to the date of the present letter being My Enid Blyton Brer Rabbit Book (1948).
REDOUTE PIERRE-JOSEPH: (1759-1840) Dutch Painter & Botanist, known for his watercolours of roses, lilies and other flowers at the Chateau de Malmaison, the former residence of Empress Josephine and Napoleon Bonaparte's last residence in France at the end of the Hundred Days in 1815. D.S., Redoute, one page, 4to, Paris, 1st March 1821, in French. The manuscript document is a receipt issued by the booksellers Treuttel & Wurtz in relation to the sales of Redoute's L'Ouvrage des Roses and proceeds to list the various editions sold, totalling 810 francs. The document further lists various deductions, resulting in a total of 448.62 francs owing to the artist. Signed at the foot of the document with a few additional words in his hand. Some extremely light, very minor age wear, VG
An original manuscript to an unproduced film POTTER DENNIS: (1935-1994) English Dramatist & Screenwriter. Autograph Manuscript, signed ('Dennis Potter', to the holograph title page), 165 pages, 8vo, n.p., 27th February 1980. The handsomely bound manuscript is of Potter's unproduced screenplay for a film project entitled Unexpected Valleys, commissioned by the director and choreographer Herbert Ross. Set at the time of writing, the screenplay has a balletic theme and explores life, death, love and relationships, with the action taking place in Manhattan, New York, and Los Angeles, California. Potter's work centres on the major characters of the ballet dancers Zina Gant ('a beautiful dancer….in her twenties, approaching all sorts of peaks and maybe an unexpected valley or two….') and Gregor ('a sardonic, mildly cynical yet secretly vulnerable character dancer….in his late 40s….a Russian who defected well over a decade ago….') and the Californian based writer Daniel Westenberg (who suffers from alcoholic tendencies, occasionally falling off the wagon, and is experiencing writer's block) and his estranged wife, Ruth ('a quietly rather than strikingly pretty woman in her early thirties'). They are supported by a small cast including Ned, another dancer with Zina and Gregor's company, Nick, a music student who plays the violin, Daniel and Ruth's son, Simon (who becomes unexpectedly hospitalised) and Tony, Westenberg's literary agent. Potter opens with a scene set on Madison Avenue where Zina and Gregor, whilst having dinner in a basement restaurant, encounter an elderly Russian lady, whom Gregor recognises as Natalia Vaganovna. Described as an eccentric recluse with the appearance of a vagabond, Vaganovna is nonetheless a former dancer, a revered name in the world of ballet, who, when she defected to the West in the 1950s, caused a diplomatic storm. Gregor and Vaganovna have a brief, but frosty, exchange of words in their native tongue before Vaganovna promptly leaves the restaurant, only to result in drastic consequences that continue to haunt Zina throughout the story. The plot subsequently follows the life of the nymphomaniac Zina ('she is reaching her climax, with a hungry, demanding intensity that helps illuminate what men would call her “promiscuity”….she likes it, and how!') whose numerous sexual encounters result in her being forced to make not just one, but several, life changing decisions. Potter entwines the action between Zina's life and that of Daniel, a former lover who remains infatuated with the ballerina. Zina and Daniel's paths cross again as the writer finds himself in New York whilst researching Natalia Vaganovna for a book he is struggling to complete on defectors and Western culture. Typical of Potter's screenplays, the personalities within Unexpected Valleys are interlinked and their destinies are revealed as the screenplay concludes with a perhaps surprising outcome, 'They were growing anxious for they saw now that the house might be hidden anywhere between them and the mountains. Then came an unexpected valley, narrow with steep sides, that opened suddenly at their feet'. Potter's manuscript, which features just a minimal number of minor corrections in his hand, is typically neatly written on individually numbered pages and comprises over 300 numbered scenes complete with slug lines, screen directions and dialogue. Unexpected Valleys demonstrates many characteristics found in Potter's other screenplays as he explores the concept of betrayal and provides various flashbacks throughout the work. Potter pioneered the use of music in his dramatisations and the present manuscript is no exception with various scenes being acted to music including extracts from Prokofiev's Romeo and Juliet and Bizet's Carmen, as well as incorporating Cole Porter's song Night and Day and Lilly & Loesser's I've Got Spurs That Jingle Jangle Jingle. The manuscript is written on good quality cream paper with uncut edges and is attractively bound in half morocco over green marbled boards by The Abrams Bindery of Wellington, Somerset and also features gilt decoration, a panel to the front gilt stamped with the title and Potter's name, and further gilt decoration and title stamped to the spine. About EXORIGINAL MANUSCRIPTS OF POTTER'S WORKS RARELY APPEAR ON THE MARKET. Indeed, American Book Prices Current do not record any as having previously being offered at auction and what is described as 'the complete archive' of Potter's manuscripts, unpublished works and initial drafts is held at The Dean Heritage Centre in Gloucestershire, the county of his birth. Their archive includes Potter's original typescript of Unexpected Valleys, dated December 1979, and a manuscript notebook, of a rather plainer appearance than the present manuscript, and which is also somewhat shorter, running to 120 pages. Unexpected Valleys (occasionally also referred to as The Next Step) is an unproduced work that was originally commissioned by Herbert Ross as a sequel to his 1977 film The Turning Point, a drama which also centred on the world of ballet in New York and was written by Arthur Laurents. Starring Shirley MacLaine, Anne Bancroft and Mikhail Baryshnikov, The Turning Point was nominated for eleven Academy Awards including the Best Picture Oscar.Herbert Ross had met Dennis Potter whilst directing Nijinsky at Shepperton Studios in 1978 and invited him to write the screenplay for his next project, which resulted in the present manuscript for Unexpected Valleys, completed in early 1980. However, Ross did not progress with his plans for Unexpected Valleys, instead commissioning Potter to adapt Pennies from Heaven for the silver screen. Metro-Goldwyn-Mayer released the film version of Potter's musical drama series (originally broadcast by the BBC in 1978) in 1981 as an 'anti-musical' with actors Steve Martin, Bernadette Peters and Christopher Walken all taking roles. A box office disaster which received a mixed critical reaction, the film version of Pennies from Heaven was poorly handled in production in Potter's view (he was apparently ordered by M-G-M to rewrite the script thirteen times) and significant cuts were made to the film following initial test screenings. However, it did result in Potter being nominated for an Oscar for Best Adapted Screenplay.The copyright for Unexpected Valleys is not offered with the lot, and any prospective buyers should contact the Potter family agent with any concerns or questions regarding the copyright associated with this work.We are indebted to Nicola Wynn of the Dean Heritage Centre for her assistance in researching Potter's screenplay.
MURDOCH IRIS: (1919-1999) Irish-born Writer & Philosopher. Autograph manuscript, unsigned, one page (from a longer document), 4to, n.p., n.d. The page, written in blue fountain pen ink, are notes, (possibly for Murdoch's Metaphysics as a Guide to Morals), with corrections, and states, in part, '…This is a way of “forgiving” ordinary language, allowing it some final status. The relation of language to the world is now seen as a sort of soft barrier or area allowing an unspecifiable number of justifications of meaningful language use…We inhabit the world linguistically, trying to make ourselves at home in it, but never losing our fundamental sense of its extra linguistic otherness. The world is a wild alien being. This deep sense of its wildness is a part of our nature. Derrida alters this picture…' With one staple hole to the upper left corner, otherwise VGMetaphysics as a Guide to Morals, published by Chatto & Windus, London, 1992
O'CASEY SEAN: (1880-1964) Irish Dramatist. A.L.S., Sean, one page, 4to, Torquay, Devon, 7th July 1956, to Lewis Funke, Drama Editor at The New York Times. O'Casey states that he is pleased that his correspondent liked the article about George Bernard Shaw and comments 'As for your “error”, what about mine? I was puzzled about the length - thought it might have been an Anniversary Number, or something, & while I pondered, I cabled, forgetting (never crossed my mind to ask) to include the question “How many words?”' O'Casey continues 'I don't quite know if it be divine to forgive; but I do know it is human to err. A good thing, maybe, for it prevents us from becoming infallible' and concludes by remarking 'An Irishman usually feels close to the USA, and I'm no exception.'Together with a typed manuscript, unsigned, nine pages, 4to and slightly larger, Devon, 16th July 1956. The manuscript is the corrected proof of O'Casey's article on George Bernard Shaw, as written for The New York Times, entitled Lord of a Century - Shaw and bears numerous pencil and blue indelible pencil corrections in an unidentified hand as well as the ink title in O'Casey's hand at the head of five of the pages. The article states, in part, 'A wonderful man was Shaw; called first George Bernard but years after, his own hand cast away the George as unsuitably English, and tufted his family name with the lone name one of Bernard, or Barney for short; indicating by this curious gesture his alliance with the life and soul of John Bull's other Island. Me soul, I never doubted you, said Rory of the hill.' Some age wear to the manuscript, G to VG, 2 Lewis B. Funke (1912-1992) American Drama Editor and Critic for The New York Times. George Bernard Shaw (1856-1950) Irish Playwright, Nobel Prize winner for Literature, 1925
TENNYSON ALFRED: (1809-1892) English Poet Laureate. Brief A.L.S., A Tennyson, one page, n.p. (Welbeck Street), n.d. ('Friday', 1860s), to Mr. Payne. Tennyson informs his correspondent that he has arrived at 29 Welbeck Street and asks 'Will you call tomorrow & bring the MSS wh. my wife sent you?'. In a postscript Tennyson identifies the manuscript as being 'The arrangement of the divisions of the new vol - the new poems'. With blank integral leaf (some irregular areas of paper loss to the upper and lower edges, presumably caused when the letter was removed from an album). About VG Tennyson's correspondent is James Bertrand Payne (1833-1898) English Author and Publisher who managed the firm of publishers founded in 1830 by the British poet Edward Moxon (1801-1858).
REYNOLDS JOSHUA: (1723-1792) English Portrait Painter, the founder and first president of the Royal Academy of Arts. A good D.S., J Reynolds, one page, slim oblong 8vo, n.p., 18th August 1786. The manuscript document, entirely in the hand of the painter, is a receipt for the sum of 'two hundred and sixty one pounds ten shillings' received from Woodcock 'for Pictures done for the late Earl of Tenet, in full of all demands'. Signed by Reynolds at the foot and with a blind embossed revenue stamp to the left of the document. Some very light, minor overall age wear and a few very small, neat tears to the edges of the folds, not affecting the text or signature, about VG Sackville Tufton (1733-1786) 8th Earl of Thanet, Lord Thanet ('Tenet') English Nobleman, the hereditary High Sheriff of Westmorland 1753-86. In their work A History of the Works of Sir Joshua Reynolds P.R.A. (Volume III, published by Henry Graves & Co. Ltd., London, 1899) Algernon Graves and William Vine Cronin record the existence of the present receipt and note that it was probably made by the executors of the Earl of Thanet (who had died in April 1786) and was most likely in payment for the whole length canvas painting of Mary, Countess of Thanet (the daughter of Lord John Sackville, Mary had married Lord Thanet in 1767 and died in September 1778) and that of the Hon. John Tufton (1773-1799, English Cricketer and Politician, son of Lord and Lady Thanet) and their accompanying frames. The painting of Lady Thanet is described by Graves and Cronin as being a profile pose against a landscape background, depicting her wearing a white dress, trimmed with gold, as she looks to her left, leaning her right arm on a pedestal, on which are some flowers, with her left hand holding her robe. Interestingly, Lady Thanet is recorded as having sat twice for Reynolds, in the February of 1770 and again in the same month the following year, some fifteen years before the artist received his payment. The painting was exhibited at the British Institution in 1833. The portrait of the young John Tufton depicts him in a playful full length pose accompanied by a dog who stands on his hind legs and rests his front paws in Tufton's hands. Wearing a simple green tunic and standing barefoot, Tufton looks directly towards the viewer as he poses by a tree. The painting has been described as a 'work of pre-eminent importance in Reynolds' oeuvre' and gives a 'reassuring view of… [Tufton]… in the untroubled contentment of the leisured class, a picture of health and happiness'. John Tufton's portrait is recorded as being the outcome of a single sitting, also some years before the present receipt was signed, on 3rd February 1777. The work was also exhibited at the British Institution in 1833. Reynolds enjoyed a good working relationship with the Thanet family. Indeed, in addition to the portraits of Lady Thanet and her son, the artist had also previously painted two elder brothers (in 1766-67) and Nelly O'Brien, the mistress of Lord Thanet (on two occasions between 1762-64). The executor referred to in the present document may have been the solicitor Edward Woodcock (d.1790) who was based at Lincolns Inn. The National Portrait Gallery hold three mezzotints of Woodcock by the engraver and printer Samuel William Reynolds (1773-1835), after Joshua Reynolds, published in 1838 by Hodgson & Graves. Provenance: The present receipt was formerly part of the inventory of the noted American autograph dealer Robert Batchelder (1927-2007) and is accompanied by his original catalogue description. Manuscript documents signed by Reynolds relating to the sale of his paintings rarely appear at auction; American Book Prices Current record only one other example having been previously sold, in 2005.
BENNETT ARNOLD: (1867-1931) English Writer. T.L.S., Arnold Bennett, one page, 4to, Cadogan Square, London, 9th April 1923, to Geoffrey Lapage. Bennett states, in full, 'I am obliged for your letter and the enclosures. I return all the latter (the word struck through and replaced by 'contributions' in Bennett's hand) together with my report and adjudication. Let me say that in my opinion the general level of the contributions is rather high - considerably higher than I should have expected.' With numerous pencil sketches of various figures by Lapage to the verso, and a note on the preservation of pencil and ink drawings, with several images covered in gum acacia and varnish. Together with a second, brief T.L.S., Arnold Bennett, one page, 4to, George Street, London, 17th November 1922, also to Geoffrey Lapage. Bennett states, in full, 'I will do it. Is this enough?' With light age wear. Also including a manuscript copy of Bennett's Report on Fiction Prize, in the hand of Lapage and signed by him with his initials ('G.L.') at the head, three pages, 4to, n.p, n.d. (1923). The report commences, 'Subject is the chief thing in a work of art; treatment is secondary. See the Greeks, see Matthew Arnold. It has been said that the test question for a good plot is; Does it seem interesting when told in a few words...' and continues with Bennett's critique of three fictional stories. With light creasing and age wear. G, 3Geoffrey Lapage(1888-1971) English Parasitologist and Writer, lecturer in Zoology at the University of Manchester. Lapage also wrote books for children, and some volumes of verse, as well as a study of drawings by scientific men entitled Art and the Scientist (1961). Bennett adjudicated for the Manchester University Unions Magazine Fiction Prize in 1923.
AYCKBOURN ALAN: (1939- ) English Playwright and Director. Autograph manuscript notes, signed, one page (possibly being page 5 of a longer document), folio, n.p., November 1983. The page of script, written in pencil, being part of act for an unknown play, reading, in part, 'Husband: Where are all my clean socks, Wife: To be loved and loyal. And much more.., Mother/Sec: Much, much more besides that…, Husband: If there's no breakfast cooked by eight I won't arrive at work till late and I won't buy you your new carpet' Signed ('Alan Ayckbourn') in bold black ink to the foot of the page, and dated November 1983 in his hand. Together with a signed colour postcard, the image depicting a portrait of Ayckbourn by the artist Allan Ramsay. Signed by Ayckbourn in bold black ink with his name alone to a clear area at the base of the image. VG to EX, 2
MURDOCH IRIS: (1919-1999) Irish-born Writer & Philosopher. Autograph manuscript, unsigned, one page (from a longer document), 4to, n.p., n.d. The page, written in blue fountain pen ink, are notes, with corrections, for Murdoch's book Metaphysics as a Guide to Morals, and states, in part, 'George Steiner in his very interesting and perceptive W. P. Ker Lecture, A Reading Against Shakespeare quotes Wittgenstein's views. The indictment may be expressed, in Steiner's words, as: 'the manipulative sovereignty and singularity of Shakespeare's spectacular skills generates a merely phenomenal significance. And were phenomenality is virtue to life'…the archaic but also (if I am not mistaken) Joycean term 'wordsmith' renders the appropriate stem and connotations. But 'poet' does not translate Dichter. And it is the gap, indeed it is very nearly an abyss, which is the crux of Wittgenstein's entire case.'. With one staple hole to the upper left corner, otherwise VGThe W.P. Ker lecture was a yearly lecture at the University of Glasgow. It was instated in 1938 in honour of William Paton Ker, of whom Tolkien spoke with reverence in The Monsters and the Critics.Metaphysics as a Guide to Morals, published by Chatto & Windus, London, 1992
BINYON LAURENCE: (1869-1943) English Poet whose most famous work, For the Fallen, is used in Remembrance Sunday Services. Autograph Poem Signed, Laurence Binyon, two pages, 8vo, n.p. (London), n.d., on the blind embossed stationery of the British Museum. Binyon has boldly penned a fair copy of his famous World War I poem Men of Verdun (1917) which comprises ten stanzas using a rhyming scheme, commencing 'There are five men in the moonlight/ That by their shadows stand/ Three hobble, humped on crutches/ And two lack each a hand' and concluding 'For history's hushed before them/ Ane legend springs afresh/ Verdun, the name of thunder/ Is written on their flesh'. Signed by Binyon at the conclusion. An attractively presented poem, and rare in this form. VG Binyon was too old to enlist in World War I and instead volunteered his services at a British hospital for French soldiers, in the summer of 1916 taking care of soldiers who had participated in the Verdun battlefield. His experiences inspired several poems including Fetching the Wounded and The Distant Guns. The present poem differs slightly to other published versions - in the present example, Binyon commences the seventh stanza with the line 'The shadows, moving by them', whereas other published text reads 'The shadows, maimed and antic'. Manuscript copies of Binyon's poems rarely appear at auction - American Book Prices Current record only four others having been offered in the last forty years, including a manuscript draft of the fourth stanza of Binyon's other famous war poem, For the Fallen, which was sold by Bonhams as part of The Roy Davids Collection (Part III, Lot 50, 10th April 2013, hammer price £8000).
POPE ALEXANDER: (1688-1744) English Poet, known for his satirical verse and use of the heroic couplet. Pope is the second most frequently quoted writer in The Oxford Dictionary of Quotations after William Shakespeare. Fine, dark ink signature ('A. Pope') to the verso of a manuscript document signed ('J: Caryll') by John Caryll, one page, slim oblong 12mo, n.p., 2nd September 1717. Caryll's document is addressed to the goldsmith [Richard] Wright of Convent Garden and states, in full, 'Pray pay unto Mr. Alexander Pope or order the sum of thirty three shilings on acct of yr friend'. Signed by Pope to the verso as an acknowledgement of having received the funds. With a partial integral address leaf. Rare. Some light overall age toning and wear, otherwise VG John Caryll (1667-1736) The Younger. Second Jacobite Baron Caryll of Durford and friend of Alexander Pope. Richard Wright conducted the business of Wrights & Co. between 1708-29, the private bank having been established as the goldsmithing business of William Wright in 1699, based in Covent Garden, London. Pope published several works in the same year as signing the present document, including Eloisa to Abelard, Three Hours After Marriage and Elegy to the Memory of an Unfortunate Lady. It was also the year in which his father, a linen merchant in London, died.
Orwell (George). Nineteen Eighty-Four, The Facsimile of the Extant Manuscript, 1984, numerous monochrome facsimiles, some light toning, original red cloth in dust jacket, covers slightly marked, folio, together with other modern literature, including D.H. Lawrence, Ford Madox Ford, William Faulkner, mostly original cloth in dust jackets, G/VG, 8vo/folio (6 shelves)
Miscellaneous books, albums & ephemera, 19th and 20th century, including Adolf Rosenberg, Geschichte des Kostums, 5 volumes, Berlin, circa 1920s, large folio, a large folio album of 19th century prints and engravings, photographs and illustrations, including some hand coloured and colour printed, circa 1860s, Courtney Lewis, George Baxter, Picture Printer of the 19th Century, 1911, a quantity of early 20th century manuscript sermons, mounted topographical engravings, etc. (3 shelves + 2 cartons)
Queen Mary interest - a small cushion of oblong form covered in a machine woven floral fabric 35cm x 23cm, with manuscript postcard, postmarked Plymouth 1925, advising the addressee in Ford (West Sussex) that they had won the cushion and it had been donated to their charitable cause by the Queen through Lady Albertha Lopes, with details of where it could be collected, together with a broderie anglaise white linen gown and silk hat from a baby who subsequently used the cushion
A Victorian Medal Pair, comprising: Queen's South Africa Medal, with Cape Colony, Orange Free State, Transvaal and South Africa 1902 clasps, awarded to Lieut: & Q.Mr: J.GRAINGER, Leins: Rgt. and Army Long Service and Good Conduct Medal (swivelling scroll suspension), similarly awarded (as CR:SGT); together with a 9ct Gold Medallion, inscribed, ''R.C.B.L. 1925-6, Capt. J. Grainger'', 8.8gm.; a 19th Century Musical Manuscript Book, the back fly paper inscribed in pencil ''John Grainger, Reading, Berks.''Medals in good condition - no issues. Musical manuscript book with tissue guards, some scuffing to binding and foxing to pages.
1713 Salem land document signed by Steven Seawall (Steven Seawell court clerk at Salem witch trials, the period ink manuscript written document regarding land conveyance transferring property from the daughters of Dr. Daniel Weld and Captain John Gardener over to a Salem blacksmith named Thomas Purchase, with accompanying research information dated 6th March 1713 (Steven Seawall was the clerk of court during the Salem Witch Trials of 1692
Australian Interest Australian Rough Diary, 1918, a manuscript diary believed to have been written by the personal assistant to Sir Walter Edward Davidson, Governor of New South Wales, 1918-1923, entries commence on arrival on the 29th March 1918 and end on the 23rd of December, 1918, three days to a page, worn printed covers, indistinct name to front cover (P.S????, 6th Rifles)
Naval Memoirs Kemmis (George), Something About Africa and the Slave Trade, 1876, a manuscript memoir '... with reference to Naval life in the King's service some fifty years ago ...', title and 62 pages of notebook, 225mm x 182mm, original limp cloth wraps, the title is a little misleading as the memoirs mainly describe life onboard a ship
Holy Bible Codex Sinaiticus, 2010, British Library, colour facsimile of the fourth century manuscript Codex Sinaiticus, written in Greek, it contains the earliest complete copy of the New Testament, large, thick folio, original cloth, with accompanying reference booklet in original cloth slipcase with pictorial onlay
Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 1797, twelve volumes, portrait frontis, three folding maps, contemporary tree calf bindings worn, one with cracked spine, several cracked joints; [Fisher (John), This Treatyse Concernyne the Fruytfull Sayings of David the Kynge ..., 1555], lacks A1 (the title) and &ii-v1, manuscript notes at front (dated 1925) state that the book was collated with a copy at the Durham University Library, early calf; Burnet (Bishop), Bishop Burnet's History of His Own Time, 1823, six volumes, Ely Cathedral Library bookplates (with deaccession stamps), calf (worn); The Book of Psalms in Metre. Close and Proper to the Hebrew: Smooth and Pleasant for the Metre ..., 1644, Matthew Simmons, only title page present before A3, early calf (re-backed); with four others (24)
Heneage Jesse, J - Literary of Historical Memorials of London, 2 vols, London: Richard Bentley 1847, dec full calf 8vo; to/w Potter, John - Archaeologica Graeca or The Antiquities of Greece, 2 vols bound as one, Edinburgh: Mundell, Doig & Stevenson 1808, full calf; Chambers, Robert - Traditions of Edinburgh, 2 vols, Edinburgh: W & C Tait, 1825, American cloth 12 mo: Lady Murray of Stanhope - Memoirs of ... George Baille & Lady Grisell Baille, privately printed Edinburgh 1822, full calf (disbound): General Report of Scotland (c. 1805), with manuscript instructions to examine or amend this draft before presentation to Parliament (the pages are uncut & therefore it was not read) (7)
PUNJAB, NORTHERN INDIA, EARLY 19th CENTURY Portrait of a Sikh Man reading, ink on paper, 6 x 4in (15.2 x 10.2cm); sold together with a folder containing 'A Scene from the Devi Mahatmya', ink and watercolour on paper, unframed, 7 1/2 x 9in, Pahari, possibly Guler, 1st half of 19th Century; six other drawings, mostly Rajasthan; an unframed Qajar portrait gouache of two boys; and three other unframed illustrated manuscript folios, 18th/19th Century (qty)
Quantity of books relating to art including John Pope-Hennessy "Italian Renaissance Sculpture", "Italian Gothic Sculpture", Larousse Dictionary of Painters, "King of the World - The Padshahnama, an imperial mughal manuscript from the Royal Library, Windsor Castle", Kenwood "Paintings in the Iveagh Bequest" and other volumes (3 boxes)
Lord Lyndhurst hand written letter regarding the review of a manuscript. John Singleton Copley, 1st Baron Lyndhurst PC QS FRS 21 May 1772 - 12 October 1863, was a British lawyer and politician. He was three times Lord Chancellor of Great Britain. Good Condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95.
COLLINS NEW NATURALIST SERIES. A complete run of Vols. 1 to 131. All in d.w's. All are 1st ed's except nos. 1; 11; 22; 23; 24; 25; 30; 31; 32; 34; 42; 47; 51 & 82. Number 70 (Orkney) is 1st Edition, 1st State but with large manuscript inscription from Sam Berry to title page. Number 71 is 2nd State. Number 76 is paperback. The first 50 vols. or so are in varying & mixed cond., the middle period vols. are generally good & better (def. d.w. to no. 68) & nos. 81 to 131 are generally v.g./excellent with many in as new cond. 1946-2016. (131).
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