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Click here to subscribeA substantial dolls house of 'Ashcroft Hall' made by The Dolls House Builder Of Cornwall (retail cost £2,500) This Georgian 1/12 scale mansion is based on the new Ashdean Hall, measuring five feet wide and seventy four inches tall, standing on a purpose built cabinet. Although not fully built, all the parts are present (including some electrics) to complete the build.
Overton (Henry) & J.Hoole, publishers. Britannia Illustrata, of Views of all the Palaces...and other Publick Buildings of England, 1724; View's of all the Cathedrall Churchs of England and Wales, n.d.; Views, of...Versailles, 1725, together 3 works in 1 vol., first editions, engraved throughout, each with title and 29 plates, some signed B.Cole or J.Harris, the last plate of Versailles hand-coloured, stab-holes, a little soiled, one or two minor marginal tears repaired, one plate of Cathedrals torn & repaired, this and following plate also trimmed and crudely reinforced at fore-margin, modern half calf, a little rubbed, spine slightly faded, oblong folio, H.Overton & J.Hoole⁂ Three rare suites of views. Britannia Illustrata includes an interesting view of 'The New Building at Cambridge in Perspective' signed "J.Clark sc. 1724" showing the Senate House facing a matching building to house the library which was never built, and 'A Prospect of Westminster Hall' is a copy of the engraving of the interior showing rows of bookstalls. Other images are copied from Kip's Britannia Illustrata. The Versailles views are the source of the more common set of engravings first published by Bowles in 1726 and reissued several times.
A large collection of Asian art auction catalogues and exhibition catalogues, the majority Christies, including Christies 'The E.T. Hall Collection of Chinese Monochrome Porcelains', London 7th June, Christies 'The Hildegard Schonfeld Collection of Fine Chinese Snuff Bottles', New York 21st March 2013, and Christies 'An Exhibition of Important Chinese Ceramics from the Robert Chang Collection', London June 1993 (approx 115 in total).This lot is subject to a Buyer’s Premium of 24.5% (including VAT @ 0%) of the hammer price. Purchased online via the-saleroom.com, this lot will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Attributed to the Obrador of FRANCISCO ZURBARAN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664)."Saint Francis Receiving the Stigmata", ca 1630-1650Oil on canvas. Relined.Attached is a report on the work issued by Ismael Gutierrez Pastor.It has slight repainting.Measurements: 145 x 105 cm; 156 x 116 cm (frame).In this work of devotional character the episode is represented in which St. Francis, being retired in the mountain, had a vision in which Christ appeared to him, from whose wounds rays emerged that caused the saint stigmata in his hands and feet. The scene is set in the foreground, with the saint three-quarter length, dressed in the Franciscan sackcloth, with the Holy Scriptures in front of him, and a skull on a rock, the objects of his meditation.Saint Francis (Assisi, Italy, 1182 - 1226) was the son of a wealthy Italian merchant. Baptised John, he soon became known as "Francesco" (the little Frenchman), because his mother came from that country. His youth was joyful and carefree until the age of twenty-five, when he changed completely and began to dedicate himself to the service of God, practising the Gospel ideal: purity, detachment and joy in peace. Francesco renounced the great inheritance he had received from his parents and decided to live poorly, setting an example of an authentic Christian. He soon had several young disciples, called by the saint "order of the Friars Minor". In 1210, Pope Innocent III granted them the foundation of the new order and encouraged them in their evangelical work. He was a legendary figure during his lifetime, considered a living relic. Likewise, his exquisite poetry and his familiarity with nature add the most human accent known in a saint, as can be seen in his "Canticle to the Sun".Francisco de Zurbarán trained in Seville, where he was a disciple of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pachecho and Herrera, and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1934, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1958, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. During this last period of his output he produced small-format private devotional canvases of refined execution. Zurbarán was a painter of simple realism, excluding grandiloquence and theatricality from his work, and we can even find a certain clumsiness when solving the technical problems of geometric perspective, despite the perfection of his drawing of anatomies, faces and objects. Nor is he interested in foreshortening or in suggesting illusionistic Italian-style spaces. His severe, rigorously ordered compositions reach an exceptional level of pious emotion. With regard to tenebrism, the painter practised it above all in his early Sevillian period, both in his well-known monastic works and in pieces for private devotion. No one surpasses him in his way of expressing the tenderness and candour of children, young virgins and adolescent saints. His exceptional technique also enabled him to depict the tactile values of canvases and objects, making him an exceptional still life painter. His sobriety, his expressive power
ARTISTS: Selection of A.Ls.S., T.Ls.S. (2) etc., by various artists and sculptors, mainly American, comprising Kenneth Snelson, Richard Hamilton (A.N.S.), Nigel Hall (to the curator of the Storm King Art Centre in New York, stating that it was good to have met her at the Tate conference and remarking 'I hope conditions at the Chelsea Arts Club were not too rigorous!'), Ben Shahn (to Leonard Lyons of the New York Post, thanking him for a story and commenting 'But if you worry about my ever missing them. Don't! All our commuters make damn sure I get 'em every time', accompanied by the original envelope), George Rickey and Walter De Maria (apologising for some delays and confusion regarding a proposed land transaction and remarking 'I must say that the geothermal people needed this land more than I did and with today's energy crisis upon us I have no doubt that within a few years there will probably be an electric power station in the valley', 17th November 1973). A few minor faults, generally VG, 6
GARNETT DAVID: (1892-1981) British writer, a prominent member of the Bloomsbury Group. T.L.S., David, one page, 4to (folding air mail stationery), Hilton Hall, Hilton, Huntingdon, 24th December 1963, to Professor Harry T. Moore. Garnett thanks his correspondent for their encouraging letter and continues to discuss his plans and thoughts on spending two or three months lecturing in the United States, in part, 'I would be quite happy to spend a month at S.I.U. as I did last time. When I came then S.I.U. paid my return fares…..provided me with board and lodging and paid me a fee of $1200.00. I thought that was handsome. In return I took part in your two days panel on the world of James Joyce and the world of D. H. Lawrence, gave four lectures and met nine classes having talks and discussions with each. The month was interrupted by Thanksgiving, during which I went and visited Chicago. Subjects which suggest themselves to me to talk about are D.H.L.; T. E. Lawrence, Galsworthy and Forster; Conrad, Virginia Woolf and Bloomsbury; The influence of the Russians, Socialism in England, H. G. Wells; Henry Green, T. H. White, H. E. Bates; Hemingway, Carson McCullers. Of course there are hundreds of other things I could talk about if you wanted me to. But that's a fair selection', further adding that he would also like to visit Texas, New Mexico and California and will also write to Professor Sanders at Duke University ('He specialises in Stracheys and Bloomsbury') as well as Professor Blair Rouse in Arkansas who may invite him 'to talk about a very minor literary figure - Swinnerton, whom I just know'. Hand addressed by Garnett to the verso and again signed ('David Garnett') in the return address panel. VG
NEW HALL - LARGE 19THC ENGLISH TEA SERVICE Pattern No 2054, each piece painted with panels of panels against a blue ground with gilded flowers and leaves. Comprising a teapot, slop bowl, lidded sugar bowl, milk jug, 2 circular plates (22cms and 20.5cms diameter), rectangular shaped dish, 10 saucers (14cms diameter), 2 saucers (13.5cms diameter), 10 coffee cups, 10 tea cups. Some items with the pattern number to the bases, some damages in places.
Hall (Sidney). A Travelling County Atlas with all the Coach and Rail Roads..., 1842, title page a little stained, 43 double-page engraved maps and three folding (Scotland, Ireland & Wales), all with contemporary outline colouring, some offsetting throughout, later endpapers, contemporary morocco gilt, rebacked, some wear to extremities, 8vo, together with Smith (Charles). Smith's New Pocket Companion to the Roads of England and Wales and Part of Scotland...., 1827, folding engraved map of England and Wales with closed handling tear, calligraphic title, 126 engraved strip road maps printed on 42 sheets, map of the Isle of Wight and an index of roads bound at rear, slight spotting throughout, later endpapers, modern green calf with morocco gilt label to the upper cover, 8voQty: (2)
LIVERPOOL INTEREST; a group of four late 19th century coloured etchings, all depicting scenes of Liverpool, comprising 'Liverpool from The Mersey No.1', 'Liverpool from The Mersey No.11', 'Town Hall and Mansion House Liverpool' and 'The New Custom House Liverpool', the smallest frame approx 19 x 24cm, the largest 22 x 27cm (4).
Weltausstellungen. Konvolut von acht Ausstellungsführern, Bulletins etc. Mit zahlreichen Abbildungen. Verschiedene Formate. Illustr. OBroschur. New York, Paris u. a. 1933-1939.Enthält: 1. L' Illustration. New-York World's Fair 1939 - Le monde de demain (Umschlagtitel). 38 x 28,5 cm. 1939. Paris, 10. Juni 1939. - Der Weltausstellung gewidmete Ausgabe des Magazins. - 2. See the New York World's Fair ... in Pictures. 16,5 x 24 cm. 1939. - 3. Visitor's Guide Golden Gate International Exposition on San Francisco Bay. 20,5 x 14 cm. 1939. - 4. New York World's Fair 1939. Bulletin Vol. II, No. 3. 23,5 x 31,5 cm. 1939. - 5. Official Pictures of A Century of Progress Exposition. 25 x 17,5 cm. Chicago 1933. - 6. Paris 1937. Exposition Internationale "Art & Techniques". 23 x 19,5 cm. Paris (1937). - 7. New York World's Fair 1939. American Express. 29 x 22,5 cm. (New York 1939). - 8. Radio City Music Hall. Pictorial. 15th Anniversary. (New York 1947). - Wohlerhaltene Exemplare.
Cecil (William, Lord Burghley) Precepts, or, Directions for the well ordering and carriage of a mans life...to his Sonne..., 2 parts in 1, engraved portrait, title with typographic border (shaved at foot), paper flaw defect to lower margin of F3 just touching catchword on verso, lacking initial & final blanks, portrait stained & frayed at edges and with near contemporary ink inscription dated 1694 to verso (repaired), contemporary calf with double rule border, rubbed, rebacked, new endpapers, [STC 4900, cf. Heltzel 255, 1636 edition], for Thomas Jones, 1637 § [Osborne (Francis)] Advice to a Son; or Directions for your better Conduct through...this Life...I.Studies &c. II.Love and Marriage. III.Travell. IV.Government. V.Religion., first edition, woodcut initials and typographic ornaments, later ink inscriptions to title with another erased at head, trimmed, a good clean copy, modern parchment, rubbed, cloth slip-case, [Wing O508], Oxford, by Hen. Hall...for Thomas Robinson, 1656 [1655], 8vo et infra (2)⁂ Cecil first published his work in 1615 as Certaine precepts, or directions... and it is here reprinted for the second time with an additional second part "A Glasse wherein those enormities and foule abuses may most evidently bee seen...". Osborne was Master of the Horse to Shakespeare's patron William Herbert, Earl of Pembroke. His work was very popular, particularly with Oxford scholars, and went through five editions in 1656. It was subsequently charged by Puritan divines as containing atheistic principles and forbidden to be sold, which in fact appeared to increase sales. This first edition is scarce.
Colin Middleton RHA RUA (1910 - 1983)Kelly's Coal Boat, Belfast LoughOil on canvas, 50.5 x 60.5cm (20 x 24")SignedProvenance: Christie's, Scotland, 27th October 1989, Lot 353 (as A Cargo Ship at Sea)Colin Middleton’s father, Charles Collins Middleton, was a keen and skilful amateur painter who had a passion for boats and John Hewitt records Middleton’s early memories of ‘those Sunday mornings when Charles carried him down to the Belfast Docks to wander along the quays scrutinising the array of vessels and boarding those where he was friendly with the ships’ masters’.It was in 1941, following the harrowing events of the Blitz of Belfast that spring and eight years after his father’s death, that Middleton’s interest in this subject matter seems to have been re-awakened. Although his earlier work had been dominated by abstraction and surrealism, and the latter had been particularly effective in shaping his response to the war and also to the death in 1939 of his first wife, Maye, a more reflective mood emerged in a series of Belfast street scenes that Middleton began in 1940. In these, he seems to have looked at the city around him and its inhabitants with a new sense of kinship and empathy.It is interesting to speculate whether the paintings of Belfast Docks and its working boats were a conscious reminder of his father. The gently impressionistic manner of painting, with short broken brushstrokes placed carefully onto primed canvas occasionally left bare, and the muted palette that typified this group of works, is demonstrated in the present painting. A number of these Belfast landscapes and seascapes were included in Middleton’s 1941 solo exhibition at Belfast Museum and Art Gallery and it is possible that this is the painting Barges that was shown there.Dickon Hall
William H Bartlett (British, 1858-1932)Returning from the Fair, Co. Galway 'To the periodical Markets, held on the mainland, the inhabitants of the outlying islands are often obliged (owing to the smallness of the boats) to tow their cattle after them.'signed and dated 'WHBARTLETT 1888' (lower right)oil on canvas87.5 x 142cm (34 1/2 x 55 7/8in).Footnotes:ProvenancePrivate collection, South Africa.ExhibitedLondon, Grosvenor Gallery, 1888, no. 21.LiteratureHenry Blackburn, Grosvenor Notes, 1888, 1888, p. 10.The Daily Telegraph, 'The Grosvenor Gallery - Second and Concluding Notice', 2 May 1888, p. 5.Ida Hector, Cheltenham Examiner, 'The Grosvenor Gallery', 2 May 1888, p. 2.Truth, 'The Grosvenor Gallery', 3 May 1888, p. 18.The Graphic, 'The Grosvenor Gallery', 5 May 1888, p. 11.The Athenaeum, 'The Grosvenor Gallery – Second and Concluding Notice', 19 May 1888, p. 638.WH Bartlett, 'Coast Life in Connemara', The Art Journal, 1894, p. 248, illustrated.In the nineteenth century a drama was frequently enacted in the west of Ireland. Having acquired their livestock at local fairs, smallholders, who tenanted land measured in terms of 'a cow's grass', would ferry their cattle to offshore island pastures.1 This perilous task of transporting their purchases across deep treacherous sounds enabled their mainland soil to revive after a hard winter, and while one or two sheep or a young calf might be accommodated in a wooden curragh, or Galway hooker, neither was large enough to take several cattle. These animals had, effectively, to be towed to their new homes, their heads held firmly above the water level as in William Henry Bartlett's Returning from the Fair, Co. Galway. The authenticity of his painting is such that the heave of the long oars breaking the silver-grey waters can almost be felt. Bartlett's first encounter with the west of Ireland came when he accompanied the American painter, Howard Helmick, probably in the summer of 1878.2 So captivated was he, that after spending a winter in Munich, a further session at the atelier Julian, a season at Grez-sur-Loing, and visits to Venice and St Ives, Bartlett returned to Connemara around 1886 to paint The Last Brief Voyage (sold in these rooms, 10 July 2013, lot 115) for the Royal Academy of the following year. This sombre subject, based on an actual burial, sat within an almost lifelong commitment to the hard life endured by peasant farmers of the west. Attending the local fairs where sheep and cattle were exchanged, and witnessing vigils at wayside shrines, 'marked a mile-stone in my artistic life' he later wrote.3Arriving in Roundstone in county Galway, with its majestic backdrop of the Twelve Bens, he recalled that 'my first sight of the beaches nearby made an unforgettable impression'.4 He was instantly charmed by the 'luminous opalescent grey sky' and the 'sea of the tenderest translucent green' – all effects that are seen in the present work.5 Some critics who reviewed the painting when it appeared in the Grosvenor Gallery in 1888, thought this must have been a scene in Scotland, but the light of Connemara was unmistakable. It was left to The Graphic to point out that the occupants were Irish and that the picture was 'firmly painted and effective'. This was translated as 'dash and vigour' in The Daily Telegraph, while The Athenaeum found this 'a capital subject', the treatment of the sea being 'somewhat rough' and 'the designing of the figures...excellent'.The mistaken identity of people and place is, however, not insignificant. So pervasive was the imagery associated with the Irishman and his domain, that the rugged beauties of the Connemara went largely unrecognized. Faced in a prestigious exhibition, surrounded by cognoscenti and London's bourgeoisie, most Grosvenor Gallery visitors would only have the sketchiest idea of life in the estuary at Roundstone or on Galway's offshore islands. The heroism of Synge's Aran Islanders, Yeats's Man from Aranmore, 1905, and Orpen's Nude Pattern, The Holy Well, 1916 (both National Gallery of Ireland) was yet to come. Bartlett noted how superstition led to suspicion when he tried to find models or observe scenes like these. And were it not for the 'entrancing beauty' of the 'strands of pearly white sand' and 'exquisitely delicate green of the sea combined with the lovely blue of the Connemara mountains', he may have returned permanently to the crowded Venetian calli or the val-de-Seine and been less of a painter. Indeed, such was the significance of the present imagery that he looked for it elsewhere in works such as A Breezy Crossing, 1983 (Cartwright Hall, Bradford City Art Galleries and Museums). Crossing the Seine at Caudebec with your flock was however an adventure of different order and while similar scenes could be witnessed in Donegal when Bartlett went there in the early years of the new century, Returning from the Fair, Co Galway, was the classic canvas from which others derived. 1WH Bartlett, 'From and Island in the West', The Art Journal, 1908, p. 258.2The contrast between Helmick's more traditional Wilkie-esque depictions of Irish life and Bartlett's modern, heroic men and women of the west is noteworthy.3William Henry Bartlett, Impressions and Adventures of an Artist, n.d. [c.1920] (unpublished typescript, Private Collection), pp. 55-6.4Ibid.5 WH Bartlett, 'The West Coast of Ireland', in Charles Holme, ed., Sketching Grounds, 1909 (Studio Special Number), p. 120.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.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
Albert Chevallier Tayler, RBC (British, 1862-1925)The caricature signed and dated 'A. CHEVALLIER TAYLER. 1887.' (lower left)oil on canvas53.5 x 76.5cm (21 x 30 1/8in).Footnotes:ProvenanceWith Williams & Son, London.Private collection, UK (acquired from the above the present owner, circa 1950s).'It is in their studies of interiors no less than in their open-air work that the Newlyn school prove their love of truth'1. So wrote Alice Meynell, the first serious chronicler of the painters in the west Cornwall fishing village in 1889, when addressing the work of Albert Chevallier Tayler. The artist had achieved a notable success at the Royal Academy in 1887, with Bless, Oh God, these Thy gifts to our use (sold Bonhams New York, 4 May 2016, lot 88) portraying a humble mealtime in a fisherman's cottage – a painting that was sometimes referred to as 'Grace before Meat'. Predating Frank Bramley's A Hopeless Dawn (1888, Tate) and Stanhope Forbes's A Village Philharmonic (1888, Birmingham Art Gallery), the telling details and subtilties of light and space made Tayler's work a classic for Mrs Meynell. She noted the singular beauty of the young mother and the accurate observation of the baby 'as it turns its head to sleep'. The Academy painting was immediately purchased by the dealer, Arthur Tooth, who clearly made visual connections between this work and his current stock of contemporary Venetian pictures, headed by those of Cecil van Haanen, Luigi Nono and Ettore Tito2. And while Italian comparisons were made at this time with Bramley's paintings, had Tooth delved deeper into the contents of Tayler's studio, the general affiliation would have been confirmed. In the summer of 1887, the dealer was prepared to sponsor Tayler's trip to Venice. Although, in the following exhibition season, pictures such as A Council of Three (sold in these rooms 23 January 2013, lot 96) and A Dress Rehearsal (Lady Lever Art Gallery, Port Sunlight) were sometimes thought to have been painted during his few months in Venice, the discovery of the present canvas tends to discount this3. While The Caricature shares the same setting as these two later paintings, it is likely to predate the artist's Venice expedition4. Furniture, crockery and prints differ in all three paintings; the samovar and drop-leaf table, seen in the present work, reappear in A Dress Rehearsal, while other details such as stick-back chairs, relate it more closely to earlier works – particularly Bless, Oh God, these Thy gifts to our use5. There are good reasons, therefore, for regarding the present canvas in which the eye is led into the space of the room by a seated figure on the left and debris placed on the floor, as a highly satisfactory prototype. Clearly what appealed to Tooth was Tayler's mastery of such naturalistic details. Few painters were more talented than he in orchestrating the mise-en-scène.The son of a solicitor, Tayler received a scholarship to the Slade School of Fine Art in 1879 where he met Henry Scott Tuke and Thomas Cooper Gotch. Like his classmates he spent the academic year 1881-2 in Paris at the atelier Julian and, in later expeditions to Devon and Normandy, became a summer painting companion of Tuke. In the autumn of 1884, he was one of an important group of painters who congregated in Newlyn and although he did not remain for more than a month, his subsequent arrivals and departures were logged with enthusiasm by Stanhope Forbes6. One other aspect of the present work is, however, both obvious and intriguing. Where other Newlyn maids and fishermen's wives are shown reading a letter or dressmaking, the figure on the right in the present painting is drawing a profile on the wall - perhaps that of her sailor husband, or boyfriend. In her left hand she holds a folded sheet of paper that has been removed from its envelope. The thought behind her drawing is probably contained in the primitive graphic representation on which she is engaged. She could almost be saying to her companion – 'this is what he looks like'. While one Newlyn painter, Fred Hall, was renowned for such simplified profiles of his comrades, Tayler's painting alludes directly to the impact this school of young image-makers must have had on an otherwise, unremarkable Cornish village. Yes, it supported one of the largest fleets on the south coast; yes, it had good access to markets by rail from Penzance and, yes, throughout the halcyon days of the Newlyn painters, its piers were constantly being extended and its harbour deepened to take the draught of steam trawlers, but the record of its life in the domestic sphere it owed to artists like Tayler. In this respect, the picture of an innocent unschooled draughtswoman, watched by her workmate, is both prescient and precise. 1Alice Meynell, 'Newlyn', The Art Journal, 1889, p. 102.2See for instance 'Messrs Tooth's Exhibition', The Era, 15 March 1884, p. 13; 'Mr Tooth's Gallery', The Graphic, 8 November 1884, p. 12. Tooth's interest in Tayler's work is reported by Stanhope Forbes (letter to Elizabeth Armstrong, dated 26 April 1887, Hyman Kreitman Archive, Tate).3A Council of Three and A Dress Rehearsal were shown at the New English Art Club and the Royal Academy respectively. Tayler's departure from Newlyn for his Venetian adventure and his return are reported by Stanhope Forbes (letters dated 14 June 1887 and 24 December 1887, Hyman Kreitman Archive, Tate).4It will for instance be noted that the present work contains a vase of what appear to be small narcissi – i.e. spring flowers. 5Exotic or foreign artefacts brought back by mariners were not uncommon in coastal dwellings – as are the double-page engravings from publications such as The Graphic, that are pinned to walls.6Letters written by Stanhope Forbes (dated 21 September 1884, 26 October 1884, Hyman Kreitman Archive, Tate, plus undated letters) include references to the difficulty Tayler was having in selling his work prior to 1887. It is clear from these that there was a close bond of friendship between Forbes and Tayler.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
A GEORGE IV MAHOGANY HALL BENCHATTRIBUTED TO GEORGE BULLOCK, CIRCA 182558cm high, 89cm wide, 45cm deepFor an almost identical hall bench, see Christie's, The Collector, 23rd May 2018, Lot 110 (£18,750).This bench compares with a number of related examples by or attributed to George Bullock (d.1818). Foremost among these is the pair supplied in 1817 as part of a fully documented commission to Matthew Robinson Boulton for Tew Park, Oxfordshire, executed in oak and holly at a cost of £23.2s., and sold Christie's Tew Park sale 27 June 1987 lot 31. Another was sold from the collection of Kentshire Galleries, Sotheby's, New York, 18 October 2014, lot 328 ($20,000 including premium) and most recently another was sold Christie's, London, 19 November 2015, lot 581 (£35,000 including premium). All featured the distinctive ring-turned and fluted arms supported by uprights carved as tulip-like flowers.GEORGE BULLOCK AND HIS COLLABORATORSGeorge Bullock was considered by his contemporaries and patrons as one of the most outstanding and progressive makers of his age, though his career was cut short by his sudden death in 1818. Working from premises at Tenterden Street, London, in addition to the extensive commission at Tew Park, Bullock was requested by the future George IV in 1816 to supply suitable furniture for the Emperor Napoleon's residence in exile on the island of St. Helena, while he was also employed at Sir Walter Scott's Abbotsford, Roxburghshire, and at the Duke of Atholl's Blair Castle, Perthshire.Among Bullock's collaborators were the architects Richard Bridgens (d.1846) and Richard Brown (fl.1804-42) who not only provided Bullock with designs during his lifetime, but also did much to publicise his 'antique' taste after his death. Bridgens is credited with the design of the firm's oak parlour chairs supplied in 1818 for Abbotsford and published his Designs for Furniture with Candelabra and Interior Decoration (1824); while Brown published his Cabinet and Upholstery Furniture, 1820 (2nd ed. 1822; 3rd ed. 1835), which featured Bullock's designs for window seats such as the present lot (see Clive Wainwright et al, 'George Bullock and his circle', George Bullock, Cabinet Maker, Exhibition catalogue, 1988, pp. 13 - 39). Bullock's work was here linked with publications such as 'Mr. Hope's mythological work; Mr. [George] Smith's excellent Book of Unique Designs [1808], and [Charles] Percier's splendid French work on Interior Decoration [1801; 2nd ed. 1812]'. Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The seat is of panelled construction. The spherical finials are applied to the scalloped half roundels and there are some splits from the point where they are fixed, the underside of these have a dark stain.There are some slight variations to the shape of the turned feet. There are some chips to the lotus carved supports and it is likely that the turned end supports have been detached and re-fixed at some stage.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
A GEORGE III MAHOGANY WINDSOR ARMCHAIRCIRCA 1760Of large proportions124cm high, 74cm wide, 61cm deepThis hall armchair with solid saddle form seat and cabriole legs belongs to a distinct group which relate to provincial Windsor chairs but because of their more sophisticated design and use of fine mahogany are more likely to have been produced by London furniture makers.An almost identical armchair was sold, Christie's, New York, The collection of Robert Hatfield Ellsworth European Decorative Arts and Old Master Paintings, 21st May, Lot 1285, ($22,500).Condition Report: There are some marks, scratches, chips, cracks and abrasions consistent with age and use, some to the extremities and edges.Overall the piece is clean with some fine pale flecks, possibly from previous polishing.Some fine cracks along the grain of the timber to the bow back around the area that holds the splat and back uprights.There are some knocks/pitting to the seat.The underside of the feet with dowels and holes possibly from previous casters. The feet scuffed and knocked with chips.All that said these comments on condition are only apparent on close up inspection.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
A group of silver boxes presented to Iskander Ali Mirza (1899-1969), President of Pakistan (1956-8) Kashmir, 1957-1958each with chased floral decoration and engraved presentation inscriptions, the first presented by the Pakistan Industrial Development Corporation in February 1958; the second by the citizens of Tando Muhammad Khan in January 1957, with fitted box; the third by the Sarwari College Management Committee in August 1958, with fitted box; and an English silver trowel with ivory handle presented by the architects of the New campus of the University of the Punjab in 1957, with hall marks for Chawner & Co., London, 1861 the largest 34 cm. long(4)Footnotes:ProvenanceMajor General Iskander Ali Mirza (1899-1969).This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Postcards - Local Interest - Various early 20th century real photograph (RP Postcards) including Fern Dell at Graves Park, Sheffield; In Roe Woods, Pitsmoor, Sheffield; Top Walk in Meersbrook Park, Sheffield; Mompesson Wishing Well, Eyam; WWI RP postcard of Kenmel hill formation in Flanders, Belgium; The Plague Cottages, EYAM; Chatsworth House; Royal Infirmary Sheffield; High Tor, Matlock Bath; Solomon's Temple, Buxton;A Dovedale Walk; Lovers Leap, Buxton; Creswell Craggs; Bolsover Village; Peak Cavern, Orchestral Chamber, Castleton; The Winnats, Castleton; A Rough Sea, Douglas, Isle of Man, another similar; High Tide Chapel Point; Tenby;Rivellin Waterfall, Sheffield; Old Pinstone St, Sheffield; Boating Lake, Skegness; New Town Hall Sheffield; Hornsea; A Rough Sea, Bridlington; The Gus on The Bank, Peace Day 1919; etc large qty, many later
Children's Books - Miss Lilly Briggs and Her Pigs 'A True Story' published by Goode Bros. LITHrs. Clerkenwell Green E.C c.1900; From Do-Nothing Hall to Happy-Day House illustrated by H.J.A Miles published by Wells Gasrdner, Darton & Co. London; Pets and Hobbies verses by W.H. Gunston illustrated by Alice Reeve published by Josepth Watson & Sons Ltd; WHO KILLED COCK-ROBIN? published Frederick Warne & Co. The New Wonder Toy Book series 1; McLoughlin Bros. New York Mother goose; Aunt Louisa's Sunbeam Toy Books - Mounted on cloth The Three Bears; Marspen series toy book Elephant At Play No.4 ; The Bells of London Town arranged & illustrated by Molly B. Thomson; Marspen Series No.10 The Little Sailors; A Peep At The Circus, published by Perry & Co. London, copywrighted by McLoughlin Bros. New York
A French late 19th/early 20th century ormolu mounted kingwood, bois satine, mahogany, marquetry and parquetry gueridon attributed to Francois Linke (1855-1946)Circa 1900, with trellis inlay, the top comprising a circular tablet encompassed by a ribbon-tied floral and ribbon entwining inlaid surround, above a frieze interspersed with four abundant floral, foliate and entwined opposing cornucopiae mounts each centred by a bacchante mask, with one frieze drawer, on slender cabriole legs, with an upswept X-stretcher surmounted by a circular undertier with a basket weave mounted gallery, with an ivorine retailer's plaque which reads: 'S. & H. JEWELL, 131 & 132, HIGH HOLBORN, LONDON, W.C.', 75cm wide x 74.5cm deep x 75cm high, (29 1/2in wide x 29in deep x 29 1/2in high)Footnotes:The present lot was reputedly purchased Sotheby's, 9-11 May 2000, Sale of the Contents of Benacre Hall, Suffolk.Also, a virtually identical Linke gueridon to the offered example sold Christie's, New York, 17 October 2017, The Collector, lot 37.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Four assorted late 18th century New Hall cream jugs, together with a New Hall sugar bowl, 12cm diameter, decorated in the Chinese export style, including patterns 195, 253, 450 (5)Condition report: All items with decoration a little worn, particularly to the rims, one jug with hairline crack to spout, two with chips to rim, sugar bowl with some imperfections to the glaze
An 18th century New Hall Staffordshire 'Boy and the Butterfly' pattern tea bowl 8.5cm diameter, saucer 13.5cm diameter and coffee can 6.5cm high, together with a sugar bowl decorated with asian style figures and plants (4)Condition report: Some small pits and scratches to the glaze, otherwise in good condition
A SET OF BEATLES AUTOGRAPHS ON TWO PIECES OF PAPER - SIGNED IN PERSON IN 1963. The Client on the 26th April 1963 saw a live performance of the then relatively new and upcoming pop group, who were enjoying early chart success, they were called `The Beatles`. Obtained at the venue, Shrewsbury Music Hall and the performance was part of their UK Spring Tour. The clients father was a part-time bouncer at the Music Hall and so he was lucky enough to get access to the Beatles dressing room. Which he explains at that time was little more than a store room on one of the upper floors. He goes on to explain that he was fortunate enough to get each of them to sign a page or two out of his diary, as that was all the paper he had with him, and they were happy to do so.... Comes with a letter of provenance from the vendor.
Großer Barockschrank, um 1700Sog. Hamburger Schapp, Hallen- oder Dielenschrank. Nußbaum und Nußwurzel auf Eiche furniert. Reiche Schnitzerei. Zwei große Schubkästen im Sockel, zweitürig. Vier Evangelisten geschnitzt im oberen Bereich der Türen, Gottvater als Giebelkrone. Schubkästen und Deckenbretter erneuert. Risse und gelöste Teile. Originalschloss, Schlüssel ergänzt. 242 (221, ohne Füße) x 250 x 93 cm. Large hall cupboard, Northern Germany, around 1700. Walnut wood and walnut root on oak. Rich carvings. Two large drawers in base, two doors. Figures of the four Evangelists as carvings in upper part of the doors, God father above in gable. Drawers and top shelves renewed. Tears and cracks, some loose parts. Original lock, key new.
ANTONI TÀPIES (1923-2012)White Writings 1977 signed on the reverse oil, crayon, graphite and fabric collage on canvas 130 by 97.4 cm.51 3/16 by 38 3/8 in. This work was executed in 1977. Footnotes:This work is registered in the Fundació Antoni Tàpies, Barcelona, under Tàpies-2550 and is accompanied by a photo-certificate of authenticity. ProvenanceGalerie Maeght, ParisPrivate Collection, Spain Galerie Maeght, Barcelona Acquired from the above by the present ownerExhibitedBarcelona, Galerie Maeght, Tàpies, 1978-1979, no. 36New York, M. Knoedler & Co., Inc., Antoni Tàpies, 1981, no. 36 Barcelona, Galerie Maeght, Tàpies, 1987, no. 23Barcelona, Galeria d'Art Sarda i Sarda, Antoni Tàpies. Miquel Barceló, 1990, no. 8, illustrated in colour Zaragoza, Cajalón Exhibition Hall, Antoni Tàpies en las colecciones privadas, 2005, illustrated in colour LiteratureAnna Agustí, Tàpies, The Complete Works Volume 4: 1976-1981, Barcelona 1996, p. 98, no. 3240, illustrated in black and whiteThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Orpen, RA, RI, RHA (1878-1931) "Portrait of the Artist's Wife, Grace Knewstub,1912," O.O.C., 58 x 36cms (23" x 14"). Signed and dated 'Orpen Dublin 1912' Depicting the head and shoulders of a young woman?almost certainly the artist's wife Grace Knewstub this portrait by William Orpen, painted in Dublin in 1912, dates from a time when significant events were taking place in their lives together. While the head is well-finished, Orpen blocked out the area of the dress with broad brushstrokes of brown and black, evidently with the intention of finishing the portrait at a later date. However Grace?s eyes are downcast, and she appears to have been a reluctant sitter. Her hair is not combed, nor is she wearing the fashionable clothes and jewellery that adorned so many of Orpen's sitters. Nonetheless, the portrait shows the artist's brilliance in capturing not only a likeness, but also a sense of life, a gift he shared with his contemporary Augustus John. This is no formulaic society portrait; Grace is instantly recognisable as an individual, with a strong personality. That the painting remained unfinished is no surprise. That same year Orpen painted one of his finest society portraits, that of his long-term lover, the wealthy American Mrs. Evelyn St. George. In January of that year St. George had given birth to their child, Vivien. This would have caused scandal in the middle-class Dublin milieu in which Orpen had grown up, and immense upset to his wife Grace, with whom he had two children. The ramifications would have spread to England, where Grace?s sister was married to the artist William Rothenstein. Also dating from 1912 are Orpen's Portrait of Gardenia with a Riding Whip, depicting the teenage daughter of Evelyn St. George, and several portraits of another American, Vera Brewster, who had married the Irish writer Joseph Hone and lived next door to the Orpens. The artist was clearly fascinated by Vera, who sat for him on several occasions that year: in The Angler, she holds a fishing rod, while in The Blue Hat, she is wearing fashionable headgear. In 1912 also, his portrait of Vera, The Chinese Shawl, was exhibited at the New English Art Club and later purchased by the National Gallery of Victoria in Melbourne. Other portraits from that summer include Portrait of Kit, his daughter, a cheerful young girl sitting with her arms folded and wearing a white knitted hat and scarf. Nevertheless, amidst all these coquettish poses, arch expressions and fashionable accessories, the portrait of his wife Grace stands out for its down-to-earth directness and honesty. Born in Stillorgan, Co. Dublin, William Orpen was the son of a solicitor, while his mother Anne was the eldest daughter of the Rev. Charles Caulfeild, Bishop of Nassau. After attending the Metropolitan School of Art, he went on to the Slade School of Art in London, winning the composition prize of 1899 with The Play Scene from Hamlet (Houghton Hall, Norfolk). From the outset, Orpen eschewed experimentation and flirtations with Modernism. He revered seventeenth-century painters such as Rembrandt, Velasquez and Chardin, and sought to emulate their Realist style. In terms of his own peers, he admired the work of Augustus John, and joined the New English Art Club. His Homage to Manet depicts members of the NEAC, sitting below Manet?s portrait of Eva Gonzalès. In 1902, in cooperation with John, he opened an art school in Chelsea and also began to teach at the Metropolitan School in Dublin, a position he held until 1914. He was a friend of the collector Hugh Lane, with whom he travelled to Paris and Madrid in 1905. Three years later he began to exhibit regularly at the Royal Academy in London. Elected a member of the Royal Hibernian Academy, he rapidly became one of the most successful portrait painters in London and Dublin, being overwhelmed with commissions. Many of Orpen's portraits are painted in his characteristic bravura style, and yet he seems to have grown to dislike the elite social circles in which he moved. On the outbreak of World War I, he was appointed an Official War Artist and was given the rank of Major in the British Army. Some of his best paintings were done as a war artist, and his images of the Somme, of injured soldiers and ruined cities, remain today amongst the most powerful works of art depicting that conflict, while his portraits of key negotiators at the Treaty of Versailles are a valuable record, reflecting also his privately-held views on the politics of the time. After the war ended in 1918, Open resumed his successful portrait practice. Although he did not return to Ireland after 1915, his artistic legacy at the Metropolitan School of Art continued for many years. Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin. Dr. Peter Murray, 2022
Maurice MacGonigal, PRHA (1900-1979) "Aran Folk," oils on canvas laid on board, 109 h x 163 w cms (43" x 64"). (1) Originally commissioned circa 1932 by Patrick and Ellen (Nellie) Rooney for 'Runnymede', the family home they built in Ballsbridge in 1908, this large painting by Maurice MacGonigal depicts a group of Aran Islanders, four adults and three children, standing against a backdrop of mountains and cottages. A large Arts and Crafts period house, Runnymede, at 22 Shrewsbury Road, had a baronial-style ?Minstrel?s Hall? which the family wished to decorate with murals portraying scenes of traditional life in the Aran Islands. When completed, MacGonigal?s Aran mural cycle, commissioned to celebrate a family wedding, was unveiled with a series of parties, one of which was attended by Governor-General James MacNeill and his wife Josephine. The paintings were hung at a high level in the hall, with MacGonigal emphasising both colour and form so they could be best read from a distance. In terms of style and composition, and also the reserved and dignified aspect of the figures, Aran Folk recalls the frescoes of Giotto or Masaccio, with MacGonigal employing the bright primary colours typically found in Renaissance mural cycles. The figures are depicted in traditional dress, which even during the artist?s lifetime was being replaced by modern clothing. To the right of the group is a donkey, while the grass and sky are treated with MacGonigal?s signature Impressionist brushwork. Although clearly in the realm of history painting, there is also a down-to-earth quality in Aran Folk, particularly in the depiction of two women engaged in an animated discussion. In the foreground is a neat wooden firkin, while the background feature a row of equally neat thatched cottages, set against a mountain range of intense blue. Also included in the Runnymede mural scheme was a similar composition Aran Folk, with Animals (private collection) depicting a group of men and women, with geese and sheep. Another canvas by MacGonigal, Woman at a Spinning Wheel, (exhibited Gorry Gallery, 1993) also formed part of the same ensemble, with the artist?s older sister Eileen modelling for the figure. Through works such as these, Maurice MacGonigal, who was from Dublin city, sought not only to portray traditional life in the west of Ireland, but also to create a ?national? school of painting, one that would embody the values of Irish Republicanism. Eventually, when Runnymede was sold, the murals were taken down and distributed amongst members of the family. The painting Aran Folk was inherited by the Rooney?s daughter Avice, who had married into the Meade family, and in turn passed to her grandson Edward Dundon in whose possession it remained until 2022. Born in Dublin in 1900, Maurice MacGonigal was educated at Synge Street school before being apprenticed to his uncle Joshua Clarke, the stained-glass manufacturer. His cousin Harry Clarke also served his apprenticeship with the family firm. Encouraged by the Quaker republican Bulmer Hobson, MacGonigal enlisted in Na Fianna Eireann in 1916, and later became a member of the IRA, participating in raids during the War of Independence. Arrested in 1920, he was interned in Ballykinlar Camp, Co. Down, for a year. After his release, he went back to the Clarke studios, but soon left to take up a scholarship at the Dublin Metropolitan School of Art. Although he missed the years when William Orpen had beenvisiting tutor, MacGonigal did study under Patrick Touhy and Seán Keating, who had both been taught by Orpen, and carried forward his style of Academic Realism After a stay with the Van Stockum family in Holland in 1927, MacGonigal returned to Ireland, inspired by the paintings of Van Gogh, and greatly taken with the concept of landscape painting expressing a sense of national identity. During the 1930?s and 40?s, he did some of his finest work in the west of Ireland, depicting traditional Irish scenes and landscapes. The Meade commission inspired other group portraits: In 1933 MacGonigal was commissioned to paint a group portrait of the Ryan family at Kindlestown, and the following year completed what is perhaps his most outstanding work, Dockers, depicting workers standing beside a ship (Hugh Lane Gallery). In 1935 he painted a group of his friends, members of the art group ?The Radical Club?. Set in the life drawing room of the National College of Art, this painting, Studio Interior, is in the Limerick City Gallery. MacGonigal also designed sets for the Abbey Theatre, the Irish Hospitals Sweepstakes, and contributed illustrations to the Saorstat Eireann Handbook edited by Bulmer Hobson. In 1939 he was commissioned to paint a large mural, depicting Ireland?s contribution to American history, for the Irish pavilion in the New York World?s Fair. In this mural, his wife Aida served as the model for the depiction of ?America?. From 1924 to 1978, MacGonigal exhibited regularly at the Royal Hibernian Academy, serving twice as Keeper, and in 1962 was appointed President. He also taught at the National College of Art, where he was Professor of Painting from 1954 to 1969. A retrospective exhibition of his work was held at the Hugh Lane Municipal Art Gallery in 1991. Dr. Peter Murray, 2022
WALLACE-DUNLOP (MARION)Two autograph letters signed ('Marion Wallace-Dunlop') to Mr Hankinson, writing shortly after her release from Holloway, the first saying she has been discharged ('...I felt a little mean in entering prison as a Unitarian for I am what people call a Free thinker... Miss Pankhurst had especially told me to apply for you. I also knew you were a friend of our movement all the same I had an uncomfortable feeling I was not quite playing the game and I'm quite glad we never met! Please excuse this untidy letter... The doctor strictly forbids my getting up as I am still weak from my long fast...'); the second asking about Unitarianism and asking him to pass on her advice to fellow hunger strikers ('...I can't help feeling a little anxious about the stone throwers who will probably go to prison today. I do hope they won't try & follow my example... for young healthy women with normal appetites starvation would be horrible torture... I am naturally a very small eater... If you see any of them please tell them to keep on drinking water, to lie down all the time, to think of other things and above all to keep their minds on the funny side of it all...'), 7 pages, 8vo (168 x 124mm.), Ellerslie Tower, Ealing, W., 9 July and 'Monday' [1909]; with a letter of discharge from James Scott, Governor of H.M.P. Holloway dated 8 July 1909 (3)Footnotes:'TELL THEM TO KEEP ON DRINKING WATER, TO LIE DOWN ALL THE TIME, TO THINK OF OTHER THINGS AND ABOVE ALL TO KEEP THEIR MINDS ON THE FUNNY SIDE OF IT ALL': The instigator of the hunger strike gives advice to fellow inmates.Scottish artist Marion Wallace-Dunlop was the first to undertake a hunger strike in prison, an action which became a powerful and emotive tool in the suffragette fight for the vote. An active member of the WSPU she was arrested several times and in June 1909 she was imprisoned for stencilling an advertisement for the 29 June deputation to the House of Commons and an inflammatory message on the wall of St Stephen's Hall (see lot....). She fasted for 91 hours before she was released: 'As with all the weapons employed by the WPSU, its first use sprang directly from the decision of a sole protagonist...' (Crawford, p.179). Her success quickly led to the adoption of the hunger strike as official policy of the WSPU and the subsequent government practice of force-feeding a few months later. She asked Hankinson to visit her at the request of Emmeline Pankhurst who perhaps saw him as a useful conduit of information between prison and the outside world but it would appear from these letters that they never actually met. Resourceful and determined, as demonstrated in our letters, she also devised a new stencilling machine to quickly add messages to the walls of Downing Street, designed many of the spectacular WSPU processions and was one of the organisers of the window-smashing campaign of November 1911. She was close to the Pankhursts and was a pallbearer at Mrs Pankhurst's funeral in 1928. Provenance: The Rev. Frederick Hankinson (1875-1960); Reginald Andrew Couzens (b.1904); thence by descent to the present owner.For further information on this lot please visit Bonhams.com
'ANGEL OF FREEDOM' MEDALLIONCircular medallion depicting the 'Angel of Freedom' designed by Sylvia Pankhurst, silver and guilloche enamel in purple, white and green, with suspension ring, hallmarks of James Fenton or Joseph Fray, Birmingham, 1910, 32mm. diameterFootnotes:A RARE SUFFRAGETTE PENDANT DESIGNED BY SYLVIA PANKHURST.In 1909 the Kensington WSPU shop advertised, amongst its stock of badges, jewellery and other ephemera, 'the exhibition angel set in pendant' (Crawford, p.305), presumably the present piece which shows the angel motif designed by Sylvia Pankhurst for the Prince's Skating Rink Exhibition of May 1908. Comprising fine enamel guilloche-work on silver, it would have undoubtedly been one of the more expensive pieces on offer. Whilst the hallmarks confirm the place and date of manufacture as Birmingham, 1910, the makers mark is less conclusive, with Joseph Fray and James Fenton both possible candidates. Their marks are very similar and often confused, even in the specialist literature on the subject. The present piece passed through the hands of Elizabeth Crawford some years ago: '...a 'true' piece of suffragette jewellery...' she writes, '...have never found another...' (womanandhersphere.com) and is illustrated on the front cover of her seminal Reference Guide. The WSPU was one of the first movements to take advantage of the use of logos and visual marketing to promote their cause and Sylvia Pankhurst, a highly talented artist, designed much of its merchandise and propaganda, most notably her 'Angel of Freedom' which appeared on so many items. She had won a scholarship to the Manchester Municipal School of Art from 1900-1902, where she was awarded the prize for best female student and in 1903 undertook a commission to paint a mural scheme on the new Pankhurst Hall in Salford, built in honour of her father Richard. In 1904 she won a scholarship (first of only six to be awarded that year) to the Royal College of Art but soon gave up a potentially successful career as a painter to join her mother and sisters in the fight for universal suffrage. From then on she used her considerable artistic talents for the good of the cause, not only, as seen here, designing many of the smaller items created to raise funds but also producing large wall paintings and banners for events such as the Skating Rink Exhibition. In 1907, she produced a series of drawings, The Women Workers of England, which documented the working conditions of female workers in cotton mills and potteries (see Hester Reeve, 'The Suffragette as a Militant Artist', sylviapankhurst.gn.apc.org).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
BROWNING (ELIZABETH BARRETT)The Battle of Marathon. A Poem Written in Early Youth... Printed for her Father in 1820 and Now Reprinted in Type-facsimile. With an Introduction by H. Buxton Forman, LIMITED TO 50 COPIES ON PAPER, some foxing, crushed half morocco gilt by Myers & Co., gilt lettered spine with floral tool at each end, large 8vo, For Private Distribution Only, 1891; The Seraphim, and Other Poems, FIRST EDITION, inscribed 'E.J. Smith from H. S Boyd Esqre' on front free endpaper, a little staining in some corners, contemporary green morocco, elaborately gilt with large urn device at centre of covers, spine chipped, upper cover detached, Saunders & Otley, 1838; Poems, 2 vol., FIRST EDITION, light soiling throughout, without advertisements, green half morocco gilt by Tout, gilt panelled spines with raised bands, Edward Moxon, 1844; Casa Guidi Windows. A Poem, FIRST EDITION, half-title, 36pp. publisher's catalogue at end, occasional spotting, lacking front free endpaper, publisher's cloth, spine ends frayed, Chapman & Hall, 1851; Poems, 2 vol., third edition, contemporary half calf gilt, spines rubbed, Chapman & Hall, 1853; [AND ROBERT BROWNING] Two Poems [title on wrappers], FIRST EDITION, later brown half morocco gilt, preserving publisher's wrappers, spine faded, Chapman & Hall, 1854; Poems, 3 vol., fourth edition, half-titles, publisher's blind-stamped green cloth, spines gilt, Chapman & Hall, 1856; Aurora Leigh, FIRST EDITION, , half-titles, publisher's green cloth, soiled, spine ends frayed, front hinge split, Chapman & Hall, 1857; Poems Before Congress, FIRST EDITION, slight browning at edges, publisher's blind-stamped red cloth, lettered in gilt, spine darkened and slightly frayed, Chapman & Hall, 1860; Last Poems, FIRST EDITION, lightly browned, first 3 leaves detached, publisher's blind-stamped light blue cloth, spine gilt, slightly soiled, new endpapers, Chapman & Hall, 1862 8vo (14)Footnotes:Provenance: The Seraphim, Hugh Stuart Boyd, mentor to the young Elizabeth Barrett Browning, presentation inscription to Ellen Jane Smith on his behalf. Two Poems, Maurice Buxton Foreman, bookplate. Maurice has been posthumously implicated as a party to his father and T.J. Wise's literary counterfeit schemes, which included the use of the format of (presumably) the present copy of Two Poems for their forgeries.This 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
FAWCELL (MILLICENT GARRETT)Group of six autograph letters, one secretarial letter and one postcard signed ('Millicent Fawcett' or 'M G Fawcett') to various recipients, the majority concerning speaking arrangements, including three to Maurice H. Richmond, President of the Oxford Union ('...I feel greatly honoured by your kind invitation to address the Oxford Union on the subject to Women's Suffrage..'), proposing the resolution 'That in the opinion of this House the time has come when the Government should be urged to remove the electoral disabilities of women'), and asking for the order of proceedings ('...Shall I be the opening speaker?...') 15 pages, dust-staining and marks, 8vo (178 x 114mm.), Hawse End, Keswick and 2 Gower Street, London, 16 October [19]08 onwards; various printed handbills for the London Society for Women's Suffrage (Why Working Women Want the Vote); pamphlet The Work of a Women's Association during an Election... by Caroline B. Bridgeman [1909], etc.Footnotes:'IN THE OPINION OF THIS HOUSE THE TIME HAS COME WHEN THE GOVERNMENT SHOULD BE URGED TO REMOVE THE ELECTORAL DISABILITIES OF WOMEN'.Dame Millicent Garrett Fawcett (1847-1929), a longtime feminist and reformer, was attracted to the cause of women's suffrage after hearing John Stuart Mill speak in 1865. In 1867 she joined the committee of the newly founded London National Society for Women's Suffrage, founded by Lydia Becker. A leading figure in the suffrage movement, she took part in the formation of the non-militant National Union of Women's Suffrage Societies in 1897, becoming its president in 1907, a body which preferred to act within the law by using conventional political means to achieve the vote. She retired from the presidency in 1918 following the adoption of women's suffrage (albeit limited) that year. The NUWSS later became the National Union of Societies for Equal Citizenship and campaigned on issues such as equal pay, pensions and the rights of mothers and widows. Her call here for the debate at the Oxford Union to discuss the 'electoral disabilities of women' refers to her lecture of the same name first delivered on tour in 1871 at the New Hall, Tavistock.For further information on this lot please visit Bonhams.com
JOAN REBULL (Reus, 1899 - Barcelona, 1981)."Girl".Stone sculpture.Signed on the lower right-hand side.Measurements: 62 x 27 x 20 cm.This work is an eloquent example of the most personal work of Joan Rebull, an artist who develops a language with classical aesthetic roots, based on the principles of nobility, beauty and proportion, which nevertheless uses an idealisation and a synthesis of forms in accordance with the avant-garde and not with the models of Classical Antiquity. Thus, we are faced with a serene, balanced child portrait with a certain immutable, archaic and almost sacred character in the perfection of its proportions and structural lines, which establishes a bridge between the ancient idols and avant-garde plastic research.Considered to be the most outstanding Catalan sculptor of his time, Joan Rebull began in the world of sculpture in his native city under the guidance of the sculptor Pau Figueres. In 1915 he moved to Barcelona to begin his artistic training at the La Lonja School of Fine Arts, while at the same time working in the workshop of the marble worker Bechini. In 1916 he made his solo debut with an exhibition at the Centro de Lectura in Reus, and the following year he founded, together with other artists, the group known as "Els Evolucionistes" (The Evolutionists), which aimed to counter the Catalan Noucentisme. In 1921 he received a grant from the Círculo Artístico and travelled to London and Paris, where he was particularly impressed by the ancient art housed in their museums. Between 1926 and 1929 he lived in the French capital and took part in the Salon des Indépendants, although he also sent works to exhibitions in Barcelona. In Paris he was the first artist to be contracted by the prominent Catalan art dealer Joan Merli. On his return he was appointed president of the new Montjuic Salon (1932) and a member of the Sant Jordi Academy (1934), took part in various exhibitions in Madrid and Barcelona and, in 1938, won the Campeny Prize at the Salon d'Automne in Barcelona. After the war, he went into exile in Paris, where he took an active part in artistic life, taking part in the exhibition "Le Jeune Sculpture Française" and the Salons d'Automne. He returned to Barcelona in 1948, and three years later won a great prize at the I Bienal Hispano-American Art Biennial in Madrid. In 1962 he was appointed professor at the Sant Jordi School of Fine Arts, and shortly before his death he was awarded the gold medal of the Generalitat de Catalunya. A child of noucentista perfectionism and a great draughtsman, Rebull worked with great technical mastery and confidence in the path to follow. His sculpture is direct and anti-rhetorical, based on a serene and essential vision of reality. His style can be defined as a reencounter with the source of classicism, from which he never copies the consequences. He is represented in the National Art Museum of Catalonia, the Reina Sofia National Centre, Barcelona City Hall, the Monastery of Montserrat and the Palau de la Música Catalana, among other centres.
WELLS (H.G.)The Stolen Bacillus and Other Incidents... Cheaper Edition, AUTHOR'S PRESENTATION COPY TO EDITH NESBIT, inscribed 'To Mrs. Hubert Bland from H.G. Wells' on the half-title, Methuen, 1903; Twelve Stories and a Dream, AUTHOR'S PRESENTATION COPY inscribed 'To all the Blands from H.G. Wells (more coming)' on the half-title, New York, Charles Scribner, 1905, BOTH WITH EDITH NESBIT'S BOOKPLATE; In the Days of the Comet, FIRST EDITION, PRESENTATION COPY with 'Presentation Copy' blind-stamp on title, ownership inscription of Nesbit ('E. Nesbit Bland') on the front free endpaper, Macmillan, 1906; New Worlds for Old, FIRST EDITION, PRESENTATION COPY with 'Presentation Copy' blind-stamp on title, ownership inscription of Hubert Bland (1908) on the front free endpaper, Archibald Constable, 1908; Marriage, FIRST EDITION, PRESENTATION COPY with 'Presentation Copy' blind-stamp on title, ownership inscription of Nesbit ('E. Nesbit' in pencil) on the front free endpaper, and with 8 passages marked in the margin with an index of page numerals to these at the end, hinges weakened, Macmillan, 1912, publisher's cloth, worn, 8vo (5)Footnotes:PRESENTATION COPIES FROM H.G. WELLS TO EDITH NESBIT, author of the Railway Children, whom he had met together with her husband Hubert Bland as fellow members of the Fabian Society. Wells wrote that Edith 'was a tall, whimsical, restless, able woman who had been very beautiful and was still very good-looking; and Bland was a thick-set, broad-faced aggressive man, a sort of Tom-cat man. The two of them dramatized life and I had as yet met few people who did that. They loved scenes and 'situations'' (Experiment in Autobiography, 1934). Wells would visit the couple at their 'easy-going hospitable Bohemian household at Well Hall, Eltham' or their house at Dymchurch. The friendship continued, despite in 1906 Bland rallying support to 'defeat Wells's attempt to take over and change the Fabian Society' (ODNB) until 1908, when Wells 'made a bid for Bland's daughter, the plump, attractive Rosamund... [They tried to run away together] but Bland caught up with them at Paddington Station, punched Wells, and took Rosamund home' (ODNB). The two inscribed books were inscribed during the height of the authors' friendship between 1903 and 1905. Edith's copy of Marriage (1912) has several pages marked up, including mentions of prostitution, the Fabian Society, 'Children' and a passage noting that 'The young need particularly to be told truthfully and fully all we know three fundamental things... God... their duty towards their neighbours... and the third Sex'.This 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
HALL (SIDNEY)A New General Atlas, with the Divisions and Boundaries Carefully Coloured; Constructed Entirely from New Drawings, engraved title and index leaf, 53 engraved maps hand-coloured in colour, all backed on linen, occasional spotting, modern cloth over original marbled boards, folio (595 x 475mm.), Longman, Rees, etc., 1830This 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
BROWNING (ROBERT)Paracelsus, bookplate of William Tooke, some spotting, contemporary half calf, rubbed, Effingham Wilson, 1835; Strafford, blue crushed half morocco by Tout, gilt panelled spine, joints rubbed, Longman, Rees, Orme, Brown, Green, & Longman, 1837; Sordello, ownership signature of Blanche Blackmore, Edward Moxon, 1840; Poems, 2 vol., new edition, contemporary calf, gilt panelled spines, Chapman & Hall, 1849; Christmas-Eve and Easter-Day, front hinge splitting, Chapman & Hall, 1850; Men and Women, 2 vol., bookplates of Edith Kermit Roosevelt (second wife of President Theodore Roosevelt and the first lady from 1901 to 1909), full calf by Emily Tuckerman (signed on turn-ins), blind-tooled lyre devices on upper covers, rebacked preserving original spines, front free endpaper loose, edges rubbed, Chapman & Hall, 1855; Dramatis Personae, bookplates of Edward Rawlings and Willard Brown Thorp, spine faded, Chapman & Hall, 1864; The Ring and the Book. 4 vol., ownership inscriptions of Charles P. Chretien (theologist), Smith, Elder & Co., 1868–1869; Balaustion's Adventure, 1871; Prince Hohenstiel-Schwangau, Saviour of Society, 1871; Fifine at the Fair, unopened, 1872; Red Cotton Night-Cap Country, bookplate of H.E. Cunliffe, 1873; Aristophanes' Apology, 1875; The Inn Album, bookplate of William Henry Mason, 1875; Pacchiarotto and How He Worked in Distemper: with Other Poems, 1876; The Agamemnon of Æschylus, ownership signature of Thomas MacClelland 1878, 1877; La Saisiaz: The Two Poets of Croisic, unopened, 1878; Dramatic Idyls, bookplate of Henry Francis Redhead Yorke, 1879; Dramatic Idyls. Second Series, 1880; Jocoseria, bookplate of Robert Ellis Cunliffe, spine faded 1883; Ferishtah's Fancies, 1884; Pauline; A Fragment of a Confession... Edited by Thomas J. Wise, facsimile of 1833 edition, one of 400 copies, publisher's boards, Richard Clay & Sons, 1886; Parleyings with Certain People of Importance in their Day, ownership signature of John Richardson, 1887; Asolando: Fancies and Facts, 1890, all Smith Elder & Co. unless otherwise stated, 8vo, FIRST EDITIONS in publisher's cloth unless otherwise stated (24)This 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
A Second War ‘1941’ A.F.C. group of six awarded to Battle of Britain Hurricane pilot Flight Lieutenant H. A. G. Comerford, Royal Air Force Volunteer Reserve, a veteran of the North West Frontier with 28 Squadron, he later served as a Flight Commander of 312 (Czech) Squadron, and was forced to bale out near Carnforth, 15 October 1940 Air Force Cross, G.VI.R., reverse officially dated ‘1941’; India General Service 1908-35, 1 clasp, North West Frontier 1930-31 (F/O. H. A. G. Comerford. R.A.F.) minor official correction to surname; 1939-45 Star, 1 clasp, Battle of Britain; Air Crew Europe Star; War Medal 1939-45; Jubilee 1935, generally very fine or better (6) £4,000-£5,000 --- A.F.C. London Gazette 30 September 1941. Harry Alfred George Comerford was born in Wandsworth, London in August 1905. He was the son of H. W. J. Comerford, who was a music hall and variety comedian and actor, with the stage name of ‘Harry Ford’. Comerford’s mother was Rosina Sarah Sipple - her sister Aggie (stage name ‘Aggie Brantford’) married H. W. J. Comerford’s brother Albert. The latter’s stage name being ‘Bert Brantford’. The female side of the family being of very old Sephardic Jewish origin, combined with the Comerford’s to create a number of leading actors, composer’s and vocalists of the day. Comerford, however, bucked the trend and joined the Royal Air Force on a short service commission in January 1927. He carried out his initial training at No. 2 F.T.S., Digby, and having gained his ‘Wings’ was posted as a pilot to 16 Squadron (Bristol F.2b’s) at Old Sarum in December 1927. Comerford was posted for overseas service to 28 Squadron (Bristol F.2b’s) at Ambala, India in October of the following year. He served on the North-West Frontier, 1930-31, and transferred to 31 Squadron at Quetta in March 1932. Comerford served as Adjutant, before returning to the UK on leave in December 1932. He briefly returned to India before being posted back to the UK in November 1933. Comerford joined 40 Squadron at Abingdon in March 1934, and with his term of service completed he went on to the Reserve of RAF Officers in October of the same year. He was recalled, 13 January 1940, and posted to No. 7 F.T.S., Peterborough as a flying instructor and 'C' Flight Commander. Comerford was remanded for Court Martial, 5 July 1940, on a charge of becoming unfit for duty due to excessive consumption of alcohol. He was tried by General Court Martial, 24 July 1940, and acquitted. Comerford was then posted to No. 6 E.F.T.S., Sywell and it was from there that he was posted for operational flying as ‘B’ Flight Commander of 312 (Czech) Squadron (Hurricanes) operating from Speke, 1 October 1940. The latter being a squadron formed from Czech refugees in the UK in August 1940. The Squadron was part of Liverpool’s defence, and jointly commanded by Squadron Leader F. H. Tyson and Squadron Leader J. Ambrus. The Squadron became operational the day after Comerford’s arrival, but progress was slow due to the old aircraft that the Squadron was equipped with. Comerford flew an operational sortie, 11 October 1940, and the Squadron ORB gives the following: ‘Numerous patrols throughout the day without E/A being sighted until 18.25 hours when Red and Yellow Sections were ordered to patrol Chester and Point of Ayr, shortly after taking off Yellow 2 and 3 (P/O Vasatko and Sgt. Keprt) lost touch with Yellow 1 (F/Lt Comerford) and joined themselves to Red Section (Sqn Ldrs Tyson, Ambrus and P/O Jaske). F/Lt Comerford sighted one E/A and made three quarter attacks without any visible effect, except that the rear gunner no longer replied. Meanwhile the second formation of 5 Hurricanes while at 20,000 feet sighted an E/A over the coast between Prestatyn and Chester, which they attacked. The E/A dived downwards followed by our aircraft which continued to fire.... Later reports were received that three E/A crashed in the combat area...’ Comerford was up again on the 12th, and with Squadron Leader Ambrus the day after. On 13 October 1940, Blenheims K7135 and L6637 of 29 Squadron were aloft from Tern Hill when they were attacked in error by Ambrus, Comerford and Sergeant J Stehlik over the Point of Ayr, south-west of Liverpool. Despite firing the colours of the day L6637 was shot down with the loss of the crew. The other Blenheim was able to break off and return to base. Two days later Comerford, once again flying with his commanding officer Ambrus and on this occasion Pilot Officer T. Vybiral, were flying as Yellow Section on a routine patrol. They lost their bearings and were soon low on fuel. Comerford, in Hurricane V6542, baled out near Carnforth hitting his head on the tail of his aircraft as he did so. Ambrus crashed near Dalton-in-Furness and Vybiral baled out in the same area. The crash site of Comerford’s aircraft was located in 1977 by the Warplane Wreck Investigation Group from Merseyside. They carried out a full excavation and recovered the propeller hub and a few other fragments that were donated to a museum in New Brighton, Merseyside. Comerford was posted non-effective sick on 20 October and declared fit for light duty only six days later. The wound to his head meant that he did not fly again operationally. The following month he was posted to the Air Ministry for attachment to Vickers at Weybridge, and it was whilst stationed at the latter that he was awarded the A.F.C. for his services. Comerford resigned his commission in April 1943, and died in Leicester in 1956. He is commemorated on the Battle of Britain Memorial. Sold with copied research, including photographic image of recipient in uniform.
A large New Hall 'Elephant' pattern imari tea and coffee servicecirca 1805comprising teapot and cover, twin-handled sucrier and cover, cream jug, ten coffee cups, thirteen teacups, sixteen saucers, two bread and butter plates and a slop bowl, pattern number 876(47)Condition report: Overall, the condition of the service is very good and there is no significant damages or any signs of restoration. Generally, the condition of both the paintwork and gilding is in a good, original condition. A full condition report is as follows:Coffee cans - 1 can has some stained crazing to the interior and underside of the base, alongside some further lighter crazing to the remainder of the body. 1 coffee can has several scratches to the underside of the base. 1 coffee can has a minute nibble to the foot rim. 1 coffee can has a manufacturing flaw to the foot rim, in the form of a small indentation that has been gilded over in the factory. 1 coffee can has a firing crack to the handle.Teacups - 1 teacup has a small patch of white paint to the exterior upper rim, but this would most likely come off with a little coaxing. 1 teacup has a firing crack to the handle. A few teacups have a few circular spots of light staining to the interior. 1 teacup has a crack descending from the upper rim and a patch of rubbing to the gilding, also to the rim.Saucers - 1 saucer has a Y-shaped crack. 1 saucer has a small foot rim chip and small patches of rubbing to the gilding around the rim. 1 saucer has a small nibble to the foot rim. 1 saucer has a short V-shaped crack to the rim. 1 saucer is crazed to the underside.Slop basin - some minor short scratches and general sign of use to the interior. Cream jug - Some patches of gilding wear on the edges of the handle.Plates - 1 plate has an old collector's label stuck over the top of the tree, which may affect the gilding underneath if it is removed.Sucrier - Slight firing crack to the underneath of the upper terminal of the handle and one longer, darker, firing crack to the interior of the rim. Teapot and cover - Very slight rubbing to the gilding on the tip of the spout and the very tip of the finial.No further damages or repairs. Please see additional images for the above.
A large collection of volumes relating to London and environs, including 'The Endowed Charities of the City of London', M. Sherwood, 1829, old hald calf gilt; Robins 'Paddington Past & Present', [1853], original cloth gilt; Thomas Boyles Murray: 'Chronicle's of a City Church Being an Account of the Parish Church of St Dunstan in the East', Smith Elder, 1860, extra illustrated/grangerized copy, with additional engraved folding map 1754 and other 18th & 19th Century engraved folding views, plates, relevant cuttings etc etc, original cloth gilt; 'The New Picture of London, being a Complete Guide and Hand-book', John Reynolds, [1839], engraved frontis and plates, original cloth gilt; early 20th Century photo album of Hill Hall, Epping, with blueprint plan loosely inserted; 'The London Directory of 1677', 1878 facsimile edition; Hutton: 'Literary Landmarks of London', 1888; 'Dicken's Dictionary of London 1879'; plus others Chiswick, Brentford, Ebury, Westminster, Walbrook, Belgravia, 'Liber Albus The White Book of the City of London, 1861'; Wallis's New Plan of London, c.1831, engraved hand coloured folding map, backed onto linen, 42 x 67cm, in original paper covered sleeve, printed paper label; 6 folding tape indicator maps of London circa 1900, etc (50+)
Collection of 19th vellum and other documents relating to Burgh Hall, Burgh Hall Farm & Estate, Burgh Next Aylsham, Norfolk, James Hunt Holley Esquire, son of Aylsham Attorney George Hunt Holley, 7 vellum and 4 paper documents 1860-1869 including leases, conveyance, mortgages, sale particulars etc, 1863 vellum conveyance of the Burgh Hall Estate with large manuscript pen, ink & wash plan; 1863 Burgh Hall Estate Statutary Declaration with a good quality large folding pen, ink & wash plan; 1873 lease of Burgh Hall with smaller pen & ink map, etc; plus 11 Abstracts of the Title of James Hunt Holley Esqre to a Capital Mansion House called Burgh Hall and land situate at Burgh next Aylsham, 1861/62. The once grand Jacobean style mansion of Burgh Hall was demolished in 1981. The hall was originally owned by the Holley family and rebuilt in the 1830s with architectural plans showing extensions for a new veranda by James Hunt Holley, son of Aylsham attorney George Hunt Holley. These were designed by George Stanley Repton, the fourth son of the famous landscape designer, Humphry Repton, who created Sheringham Park. The land at Old Hall Farm, the site of the former mansion, was sold by Savills in October last year for £2.2m
Postcards, London, a further selection of approx. 54 cards of London suburbs and surrounding areas with many RP's inc. St James's Rd New Cross, High Rd Leyton, London Gen. Hospital Cormont Rd, Folkestone Rd Hall Walthamstow, Over the roof at Paddington Station, Garrison Church Woolwich, 'Dirty Dicks', Early RP of homeless on the Embankment (1904, see message), Tranter's Hotel Bridgewater Square Barbican, Parade over London Bridge, Lewisham Park and Fire station, Woolwich Arsenal Railway, St Martins-Le-Grand, Camberwell Central boys group, Abbey Rd, Dog Kennel Hill, Beauval Rd Dulwich, Perry Hill Catford, and Wallwood Rd Leytonstone & much more (mainly gd)
Postcards, Cheshire, a selection of 14 RP's of Cheshire inc. animated River Bollin scene at Ashley Mills (2), High St Great Budworth, Dill Hall Lane Church, Thorley Lane Timperley subsidence Northwich, Market Place Altrincham, Wellington Rd & Fire Station Stockport, Unitarian Church Knutsford, Little Underbank Stockport, Compstall Road Romily, New Schools Mottram St Andrews, Stockport Rd Breadbury etc (mainly gd)
Postcards, USA, a fine collection of approx. 437 cards of the USA with approx. 270 from the Ralph Whetham collection re Harvey Hotels (mainly mid-west states) inc. RPs of City Hall St Louis, Market St San Francisco, Santa Fe Stn Int La Junta Colorado, Temple Stn Int Texas, Decorated Carriage, New Diesel Electric Ferry Winfield Virginia (printed). Also good street scenes, stations P.Os, hotels, agriculture, industry etc. Sold with 165 other USA cards inc. Windmill, Rail, ethnic, industry, earthquake Bonnerville Dam (RP), docks etc (mixed condition)
Postcards, Midlands, a good RP mix of approx. 41 cards of the Midland inc. Belsay Village, Market Place Loughborough, Stuarts Rd Yardley, Derby Rd Swanwick, Market Hall Birmingham, Anderton Rd Sparkbrook, Pretoria Rd Saltley, Burlington Rd Small Heath, Square Beeston, Walton, Canal New Mills, Crich, Hathersage, The Crescent Heresley etc (mixed condition, fair/gd)
A New Hall china tea service, printed and painted with rural landscapes and buildings including Eltham Lodge (now Royal Blackheath Golf Club), comprising Empire-style tea pot on stand, milk and sugar, slop bowl, twelve coffee cans, eleven tea cups, eleven saucers (twelfth saucer f/r) and a sandwich plate10 x cups intact; 1 cup with hairline crack around entire bowl rim to rim (1 cup missing); 1 x saucer broken but all pieces available; 1 x saucer with old riveted repair; 1 x saucer with hairline crack to underside; 1 x saucer with chip to topside rim; 1 x coffee can with chip to the rim, otherwise all are in good condition wtih only age related wear to gilded edges; teapot - internal star hairline crack which is slightly visible on the outside, very slight wear/rubbing to image on one side; oval dish - sight nibble to underside of base; round dish - small glued repair to rim Overall - gilding slightly worn to some pieces but does not detract. All large pieces have 984 on base
The Dead End Kids, a collection of six album pages signed by Hollywood's movie Star gang to include Huntz Hall, Bernard Punsly, Gabriel Dell, Leo B. Gorcey, Bobby Jordan and Billy Hallop, all arranged around a still from Angels With Dirty Faces (1938) with title plaque below, with R.R. Auction Certificate of Authenticity verso, 41 x 63cm.The Dead End Kids were a group of young actors from New York City who appeared in Sidney Kingsley's Broadway play Dead End in 1935. In 1937, producer Samuel Goldwyn brought all of them to Hollywood and turned the play into a film. They proved to be so popular that they continued to make movies under various monikers, including the Little Tough Guys, the East Side Kids and the Bowery Boys until 1958.Condition report: Entered by Paul Trevillion the globally acclaimed sports artist, author, inventor and motivator whose career spans over 60 years.
Signed by 7 players The Official programme for the International One Day Cricket Triangular Series, played in Singapore (August 2000). Between New Zealand, Pakistan and South Africa signed by 7 players Stephen Fleming (New Zealand), Abdur Razzaq (Pakistan), Azhar Mahmood (Pakistan), Yousuf Youhana (Pakistan), Shahid Afridi (Pakistan), Nicky Boje (South Africa), Andrew Hall (South Africa). Each player has signed on their respective profile section. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Music, Little Anthony signed Little Anthony and the Imperials 12x8 colour photograph. Little Anthony and the Imperials is an American rhythm and blues/soul vocal group from New York City founded by Clarence Collins in the 1950s and named in part for its lead singer, Jerome Anthony Little Anthony Gourdine, who was noted for his high pitched voice. In addition to Collins and Gourdine, the original Imperials included Ernest Wright, Glouster Nate Rogers, and Tracey Lord, the last two of whom were subsequently replaced by Sammy Strain. The group was one of the very few doo wop groups to enjoy sustained success on the RandB and pop charts throughout the 1960s. They were inducted into the Rock and Roll Hall of Fame on April 4, 2009, 23 years after the group's first year of eligibility for induction. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
JOHN FRANCIS DAVIS. 'Sketches of China; Partly During an Inland Journey of Four Months, Between Peking, Nanking, and Canton; With Notices and Observations Relative to the Present War,' first edition, two volumes, rebound with original cloth boards, fold out map, Charles Knight & Co, London, 1841; P. PIASSETSKY. 'Russian Travellers in Mongolia and China,' translated by J. Gordon-Cumming, two volumes, original cloth, Chapman & Hall, London, 1884; Mm CALLERY and YVAN. 'History of Insurrection in China; With Notices of the Christianity, Creed, and Proclamations of the Insurgents,' translated by John Oxenford, frontispiece engraving of Tien Te, original cloth, Harper & Brothers, New York, 1853. (5)
ROBERT HOWARD HODGKIN: THE HISTORY OF THE ANGLO-SAXONS, Oxford University Press, 1959, 3rd edition, 2 vols, original cloth, d/ws + DOROTHY WHITELOCK AND OTHERS (EDS): THE ANGLO-SAXON CHRONICLE, 1961, 1st edition, original cloth, d/w + PETER HAYES SAWYER: ANGLO-SAXON CHARTERS, 1968, 1st edition, original cloth, glassine d/w + BRUCE DICKINS: THE ANGLO-SAXONS, ed Peter Clemoes, 1959, 1st edition, original cloth, d/w + FREDERIC SEEBOHM: TRIBAL CUSTOM IN ANGLO-SAXON LORE, London, 1911, 1st edition, original cloth + SIDNEY C TAPP: THE STORY OF ANGLO-SAXON INSTITUTIONS..., New York and London, 1904, 1st edition, original cloth gilt + JAMES FREDERICK HODGETTS: OLDER ENGLAND ILLUSTRATED BY THE ANGLO-SAXON ANTIQUITIES IN THE BRITISH MUSEUM, London, 1884, 1st edition, 2nd series, original cloth + JOHN RICHARD CLARK HALL: A CONCISE ANGLO-SAXON DICTIONARY..., Cambridge, 1916, 2nd edition, revised and enlarged, original cloth + SIR WILLIAM ALEXANDER CRAIGIE: SPECIMENS OF ANGLO-SAXON PROSE - SPECIMENS OF ANGLO-SAXON POETRY, Edinburgh, 1923-29, 1923-31, 1st editions, 3 vols, 3 vols, original printed wraps (15)
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