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Pitt writes to Wilberforce on religion, war, and the slave trade PITT to WILBERFORCE: An exceptional and historically important series of twenty three A.Ls.S., `W. Pitt´, by William Pitt the Younger to William Wilberforce, 78 pages in total, 4to (19 letters), and 8vo (5 letters), twelve of them from Downing Street, also from Pembroke Hall, the House of Commons, etc.., 31st July 1782 to 14th August 1800. Few of the letters are docketed by Wilberforce. Plus one copy of a letter also docketed. WILLIAM PITT THE YOUNGER (1759-1806) British Statesman, one of the most prominent politicians of the late 18th and early 19th centuries. He held the post of Prime Minister for close to twenty years, 1783-1801 & 1804-1806. The youngest Prime Minister of Great Britain in 1783 at the age of 24, and the first Prime Minister of the United Kingdom.To the 2nd October 1785 letter, Downing Street, at the time of Wilberforce´s angelical conversion, an extremely important and exceptional content letter, referred to by William Hague in his biography William Pitt the Younger (2005), Pitt states in part `..I am indeed too deeply interested in whatever concerns you, not to be very sensibly affected by what has the appearance of a new Era in your Life, and so important in its consequences... I will not disguise to you that few things could go nearer my heart than to find myself differing from you essentially on any great principle. I trust and believe that it is a circumstance which can hardly occur.. They are sentiments engraved in my heart, and will never be effaced or weakened…´ further writing `..You will not suspect me of thinking lightly of any moral or religious motives which guide you.. But forgive me if I cannot help expressing my fears that you are nevertheless deluding yourself into principles which have but too much tendency to counteract your own object, and to render your Virtues and your Talents useless both to yourself and Mankind… But why then this preparation of solitude, which can hardly avoid tincturing the mind either with melancholy or superstition? If a Christian may act in the several relations of life, must he seclude himself from them all to become so..´, further again writing `..You do not explain either the degree or the duration of the retirement which you have prescribed to yourself… And if you will open to me fairly the whole state of your mind on these subjects, tho´I shall venture to state to you fairly the points where I fear we may differ, and to desire you to re-examine your own ideas, where I think you mistaken..´ To the 19th December 1785, Pitt states in part `.. as much as I wish you to bask on, under an Italian sun, I am perhaps likely to be the instrument of snatching you from your present paradise, and hurrying you back to "The Rank Vapours of this Sin-Worn World".´ To the 8th April and 28th June 1788 letters, and referring to the Slave Trade cause motions, Pitt states in part `..As to the Slave Trade, I wish on every account it should come forward in your hands rather than any other. But that in the present year is impracticable; and I only hope you will resolve to dismiss it as much as possible from your mind. It is both the rightest and wisest thing you can do. If it will contribute to setting you at ease, that I should personally bring it forward (supposing circumstances will admit of it being brought forward this session) your wish will decide… In one word however be assured, that I will continue to give the business constant attention, and do every thing to forward it..´, further in June saying `..The business respecting the Slave Trade meets just now with some rub in the House of Lords.. I wonder how any Human being can resist... There seems not a shadow of doubt as to the conduct of the House of Commons next year, and I think with good management the difficulties in the other House may be got over..´ Further again in Spring 1789, `..to have the day for the Slave Trade postponed.. Grenville and I have formed a project, of reducing the case.. into a string of resolutions.. The more we consider the Case, the more irresistible it is in all its parts.´ To the 8th August 1792, referring to King George III, `..I must be at Windsor on Sunday.. Immediately on Lord Guildford´s death the King has written to me in the most gracious terms to say that he cannot let the Wardenship of the cinque Ports go to any one but myself.. in the manner in which the offer came, I have had no hesitation in accepting, and I believe you will think I have done right.´ To the 7th September 1796, referring to continental Europe and war, Pitt states in part `..The message of the Directory confessing in such strong terms their distress, and the Archduke´s recent Victory on the 22nd give some chance that our overtures may be successful. In the meantime it will be indispensable to take very strong measures indeed both of Finance and Military Defence; and if the spirit of the Country is equal to the exigency, I am confident all will yet end well. An immediate Spanish War is I think nearly certain. The only motive to it is the fear of France preponderating over their fear of us; and the pretexts as futile as could be wished.´   Small overall minor age wear, otherwise G, 24   William Wilberforce (1759-1833) British Politician, member of Parliament for 45 years, from 1780 to 1825. Philanthropist and leader of the movement to abolish the slave trade. One of the leading English abolitionists who headed the parliamentary campaign against the British slave trade for twenty years until the passage of the Slave Trade Act of 1807.His first campaign proved to be the world's first grassroots human rights campaign. On 2 April 1792, Wilberforce brought again a bill calling for abolition. The memorable debate that followed drew well-remembered contributions from the greatest orators in the house, William Pitt the Younger and Charles James Fox, as well as from Wilberforce himself. Lord Melville as Home Secretary, proposed a compromise solution of so-called "gradual abolition" over a number of years. The bill was passed.In 1785 Wilberforce underwent an evangelical conversion, resolving to commit his future life and work to the service of God. At that time, religious enthusiasm was generally regarded as a social transgression and was stigmatised in polite society. Wilberforce's conversion led him to question whether he should remain in public life. Both John Newton, a leading evangelical Anglican and Pitt counselled him to remain in politics, and he resolved to do so with "increased diligence and conscientiousness".Wilberforce also championed causes such as the Society for the Prevention of Cruelty to Animals. His campaigns led to the Slavery Abolition Act 1833 which abolished slavery in most of the British Empire. Wilberforce died just three days after hearing that the passage of the Act through Parliament was assured. The leading members of both Houses of Parliament urged that he be honoured with a burial in Westminster Abbey, and while tributes were paid, both Houses of Parliament suspended their business as a mark of respect. He was buried in Westminster Abbey, close to his friend William Pitt the Younger.. William Wilberforce said of William Pitt, "For personal purity, disinterestedness and love of this country, I have never known his equal." 

FULLER LOIE: (1862-1928) American Dancer and Actress. A.L.S., Loie Fuller, three pages, 8vo, Paris, 26th October 1911, to Ralph Flanders of the New England Conservatory of Music in Boston, Massachusetts. Fuller informs her correspondent 'There is here in Paris an artist Madame Brasseur, the wife of the "administrator" of the Theatre des Varietes (It does not mean Variety Theatre) and you met them (she tells me) at the Grand Hotel years ago when he (Mr. Brasseur) was director of the Theatre Folie Dramatique' and continues to add that Madame Brasseur retired from the stage when she got married despite being 'the most popular light opera singer ever in Paris', further explaining that she would now like to give some concerts at Jordan Hall and asking if Flanders would pay her 50% of the gross receipts and pay her pension and boarding home, also discussing possible travel arrangements and concluding by remarking 'She is a great artist'. Accompanied by the original envelope hand addressed by Fuller. Some light age wear, VG    

PIAF EDITH: (1915-1963) French singer, one of the most celebrated performers of the 20th century. A fine A.L.S., Tou petit hochet oiseau, ('Your little bird'), four pages, 8vo, n.p. (New York), 26th August 1955, to her first husband, Jacques Pills ('Mon petit bonhomme'), in French. Piaf laments the fact that she hasn't received a letter from her husband, surmising that he is perhaps busy with rehearsals and urging him to rest, commenting 'Everything is fine and everything will be fine! It is strange, but when I rest, I am almost more tired than when I work. You get used to doing nothing, and the smallest effort seems enormous, a lesson that I am relearning currently' and continuing 'I'll have my hands full with Versailles! Now you'll have to write to me in New York…..I can't wait to hear the latest from you about the public's reception in other cities in England. You never talk about that country, and I'd love to hear your impression. At any rate, I think the public is great. The other thing I'd like is for you to have an apartment in London where a cook could come to keep you on your diet. I wonder how you manage in restaurants. Be very, very careful! Sometimes I do worry, knowing how kind you are and how you would not want to put anybody out but rather eat nothing at all. And you know that is what you must absolutely not do! So take great care. I am no longer there to do the salting, and you may take advantage of that. Careful dear! Maybe you do the salting yourself now?' Piaf further writes 'I am a little bored, my darling, and when I don't hear from you, I get very sad, but I know how difficult it is when you are busy with rehearsals. Relax when you can, my sweet one, and think about how much I love you'. In concluding the singer provides her address in New York, care of Lew and Leslie Grade. A letter of good association and affectionate content and, as such, rare and desirable. EX   Jacques Pills (1906-1970) French singer and actor, the first husband of Edith Piaf from 1952-57. Edith Piaf performed twice at New York's Carnegie Hall, in 1956 & 1957. 

COSTA LUCIO: (1902-1998) Brazilian Architect. A renowned urban Planner, best known for his plan of Brasilia. An exceptional A.L.S., `Lucio Costa´, four pages, folio, Rio de Janeiro, 23rd May 1966, on the “Ministerio da Educaçao e Cultura” printed heading, to Anthony Krafft, in French. A very interesting letter, fully related to architecture, with Costa´s thoughts, and with multiple references to history, works and architects. Costa states in part `Indépendamment de la fonction, il y a “in abstrato” et sous-jacente, une intention que commande la création architecturale - soit-elle un objet, un batiment, une ville -, de sorte que l´adaptation de la forme a la fonction peut conduire a des résultats singulierement différenciés. Je vous donne un exemple historique Brésilien. Au XVIII siecle…´ (“Independently of the function, there is “in abstrato” and underlying, an intention that the architectural creation commands - be it an object, a building, a city - so that the adaptation of form to function can lead to singularly differentiated results. I will give you a Brazilian historical example. In the 18th century…”) Costa continues with historical references and examples, saying `Dans la premiere moitié du siècle dominait encore l´esprit d´ostentation et d´opulence a la Louis XIV, - courbes et contre-courbes lourdes, de l´or, du bleu foncé, du rouge et du noir; dans la seconde période c´était déja l´élégance et la grace de l´esprit Louis XV qui prévalait: courbes et contre-courbes acquirent de la souplesse, l´emploi de l´or se fit moins ostensif, le bleu devint clair, le rouge rose, le blanc et le gris remplacerent le noir. Cela montre que la relation forme-fonction doit etre envisagée en tenant compte de l´intention qui commande le processus d´intégration formelle´ (“In the first half of the century, the spirit of ostentation and opulence in the Louis XIV style still dominated - heavy curves and counter-curves, gold, dark blue, red and black; in the second period it was already the elegance and the grace of the Louis XV spirit which prevailed: curves and counter-curves acquired suppleness, the use of gold became less ostensive, the blue became clear, pink instead of red, white and grey replaced black. This shows that the form-function relationship must be considered taking into account the intention that drives the process of formal integration”) Lucio Costa further refers to today´s date concepts and to Le Corbusier, stating in part `L´idéal de clareté et de pureté formelle géométrique de la Renaissance a refoulé en Europe la conception formelle dynamique (gothique). Aujourd´hui, grace a la technologie moderne qui permet des structures où la tension prédomine, on observe, un peu partout, le retour au dynamisme formel. Il y a meme les prétentieux de l´art dit prospectif qui prétendent ensevelir, des maintenant, avec son corps, l´oeuvre de Le Corbusier. Ils oublient sa belle structure (gothique) du toit suspendu de la grande salle du Palais des Soviets, le Pavillon improvisé de “L´Esprit Nouveau” (1937) et le Pavillon Philips de Bruxelles. Le Corbusier avait l´esprit ouvert a tous les vents. Dans sa premiere phase de conception statique prévalait, avec le contrepoint dynamique de sa peinture; apres Ronchamp l´intégration des deux concepts s´établit. L´intégration qui est le fondement meme de l´art des temps nouveaux´ (“The Renaissance ideal of clarity and geometric formal purity drove dynamic formal design (Gothic) back to Europe. Today, thanks to modern technology which allows structures where tension predominates, we can observe, almost everywhere, a return to formal dynamism. There are even the pretentious of the so-called prospective art who claim to bury, from now on, with his body, the work of Le Corbusier. They forget his beautiful structure (Gothic) of the suspended roof of the great hall of the Palace of the Soviets, the improvised Pavilion of “L´Esprit Nouveau” (1937) and the Philips Pavilion in Brussels. Le Corbusier was open to all new visions. In his first phase of static design prevailed, the dynamic counterpoint of his painting; after Ronchamp the integration of the two concepts was established. Integration which is the foundation itself of the art of the new times”) Further again Costa adds his conclusions on his function and form theory. VG    Anthony Kraft (1928-1991) Swiss journalist and editor of architecture works.

STOKER BRAM: (1847-1912) Irish Author of the horror novel Dracula (1897). A rare A.L.S., Bram Stoker, four pages, 8vo, Victoria Hotel, Bradford, (although on the blind embossed stationery of the Lyceum Theatre), 10th June 1890, to David Cunningham. Stoker writes under the direction of actor Henry Irving, who sends his love, and informs Cunningham that 'our Tour of Recitals is being received enthusiastically', further explaining 'We opened at Liverpool on 3rd inst and you will see from the Press Cuttings enclosed (no longer present) what they all thought of the go off. We played or rather read on 5 at the Free Trade Hall Manchester - at Hanley on 6th and at St. Georges Hall Bradford last night. In each place we had a full hall - they are pretty big ones and the greatest enthusiasm with crowds waiting to cheer in the street', Stoker also adds that Irving hopes to see Cunningham soon and that he will 'come over to London to see our new play on the novel The Bride of Lammermoor in September next'. In a postscript Stoker asks for his writing to be excused as he was on a train. Some light staining and minor age wear, generally about VG    

A very rare Bacchus patterned millefiori 'sodden snow' ground paperweight, circa 1850The distinctive canes in various sizes, set with two pairs of opposing cane clusters framed within opaque white 'sodden snow' borders, two with a row of red and white pastry mould canes around a central oversized cane, two with a row of yellow composite canes around a central green oak leaf silhouette cane, the clusters divided by a row of six red and white pastry mould canes flanked by a pair of yellow canes, all set within a ground of blue and white cogged canes and an outer row of tubular staves, 8cm diam, 5.6cm highFootnotes:ProvenanceWith Sweetbriar Gallery, 25 April 2008Livingston CollectionPaperweights with 'sodden snow' grounds are amongst the rarest produced by Bacchus. The techniques involved in the encasing process would have been incredibly challenging, hence their rarity. The central feature has been packed with a handful of smaller canes to prevent the design from moving prior to encasing. A similar patterned millefiori 'sodden snow' example was sold by Christie's in New York on 26 September 2007, lot 646. See also the examples illustrated by Robert G Hall, Old English Paperweights (1998), p.53.For further information on this lot please visit Bonhams.com

A PAIR OF GEORGE III MAHOGANY HALL CHAIRSIN THE MANNER OF MAYHEW & INCE, CIRCA 1780each 94cm high, 41cm wide, 45cm deep overallFor a closely related pair of hall chairs, see Christie's, London, The English Collector, Lot 15 (£12,500). The current hall chairs are designed in the George III 'Roman' fashion popularised by Hepplewhite & Co's publication, The Cabinet-Maker and Upholserers Guide, 1788. The overall form is found on a set of chairs attributed to the leading Soho firm of Mayhew and Ince, sold Christie's, Chirk Castle sale, 21 June 2004, Lot 54. A further set with medallion backs was commissioned in the mid 1770's by George Brodrick, 4th Viscount Midleton (d.1836) for his entrance hall at Pepper Harrow, Sussex. The chairs are believed to have been supplied by Mayhew & Ince. Three pairs of chairs were sold as part of the collection of a New York Townhouse, Christie's, New York, 15th April 2005, Lots 220-222 ($60,000, $57,600 and $50, respectively). Another pair from the same suite, was sold Christie's, London, 11th February 1999, Lot 5 (£19,550). Condition Report: Marks, scratches and abrasions comensurate with age and useSome old chips and splits, some minor old losses as expected for age and use. Some old re-gluing. Good original surface, colour and patina. The surface has been polished over time. The screws securing the base of each back to the reverse of each back (beneath the seat) have old coloured filler to disguise the screws. There are old losses to this and is untidy. The appearance of this could easily be improved by a good restorer. There is an old loss to one of the elements into which the screws are engaged (see additional images) The seat of one chair is made up of two parts and the grain runs across the seat, the seat of the other chair is formed of one panel and the grain of the timber runs from the front to the back of the chair. There is some minor movement to joints/ between elements. This could easily be 'tightened' or secured with minimal attention by a restorer if required. The glued blocks to the underside of one seat incorporates replacements and there is glue residue in various areas beneath the seats. No old breaks or splicing to the legs, nor to the seats or backs. Please refer to the additional images for visual reference to condition. Condition Report Disclaimer

Y AN EXOTIC HARDWOOD HALL BENCHIN THE MANNER OF GEORGE BULLOCK, 19TH CENTURY61cm high, 74cm deep, 42.5cm deep For a closely comparable design of hall bench, see Christie's, London, The Collector, 23rd May 2018 (£18,750). The 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]'. 

HALL, Michael (editor). The London Mystery Magazine. London: Hulton Press and Norman Kark, 1949-1981. 125 vols. 8vo (187 x 129mm to 176 x 100mm.) Numerous illustrations by various artists, including Austin Spare, Mervyn Peake and Ronald Searle. (Toning, occasional spotting, browning.) Original card covers (some volumes with wear to spine ends, browning, some spotting). Note: a near complete run of the magazine, lacking numbers 2,3,7,11,15,28 and the last one, number 132. The Magazine changed its name to 'The London Mystery Selection' from volume 36 onwards. For the first 15 issues the address of the magazine was the famous 221b Baker Street. The Abbey Building Society - who were working from that address at the time- allowed Michael Hall to use it as the address for his new magazine on the basis that he answered all the mail that arrived for Sherlock Holmes, something that a Building Society employee, the worthy Samuel W.G. Morton, had been doing until that time (125).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

MIXED CHINA & POTTERY - a parcel including small New Hall bowl, a Welsh inscribed circular pottery teapot, two other teapots, sundry commemorative and other cups and saucers, ETC

Dated 1 January [1]709 AD. A D-section gold annular finger ring with floral and foliate ornament to outer surfaces showing traces of black enamel background; the inner face engraved in script 'Sr T Littleton Bar ob 1 Jan [1]709 aet 62' and with punched 'IB' maker's mark, possibly for the London maker J. Burridge who was active at this period. See Dictionary of National Biography, pp.1255-1256, for biographical summary; see Morant, P., The History and Antiquities of the County of Essex, Colchester, 1768, p.103; see Chancellor, F., The Ancient Sepulchral Monuments of Essex, London and Chelmsford, 1890, p.186, for details of his memorial and arms. 6.55 grams, 21.66mm overall, 17.84mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (1"). From the Albert Ward collection, Essex, UK; acquired on the UK antiques market between 1974-1985; acquired at an antiques fair, believed to have been found in Essex, UK; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10956-179120. Sir Thomas Littleton, 3rd Baronet, Stoke St Milborough (Shropshire) and North Ockendon (Essex), also known as Sir Thomas Poyntz (or Pointz), circa 1647-1 January 1709 (Julian calendar or 1710 Gregorian calendar), was born as second son to the 2nd Baronet but, after the early death of his older brother, he inherited the title and attended St Edmund Hall, Oxford, matriculating in 1665 and entered the Inner Temple in 1671; he was elected to the Convention of 1689 for Woodstock and served as Member of Parliament for several seats until his death. In 1697 he became Lord of the Admiralty and had acted as pallbearer at the funeral of Samuel Pepys, his predecessor; in 1698 he was elected Speaker of the House of Commons, later becoming Treasurer to the Navy, a post he held until his death. Although married, he had no children and the title became extinct upon his death. His memorial may be seen to this day in the church of St Mary in North Ockendon, Essex and is described by Chancellor who also gives details of the combined arms of Sir Thomas as: quarterly 1 and 4, argent a chevron. between three escallops sable, 2 and 3 'Pointz', within a mullet sable for difference; overall the Badge of Baronetcy and an inescutcheon gules and chevron ermine between three garbs or. Crest a Moor's head in profile couped at the shoulder proper wreathed about the temples argent and sable and a copy of a contemporary engraved portrait is included, together with extracts from other documentary references. Published sources give the year of his death as either 1709 (as on this ring) or 1710; this results from the changeover from the Julian calendar to the Gregorian in 1752; under the Julian calendar, the new year occurred 1 March, giving his death taking place in 1709; from 1752, the new year was pushed back to 1 January, resulting in his death year becoming 1710 under the new calendar rules. ‘Posy’ is derived from ‘poesy’ or ‘poetry’. In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardised spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty. [A video of this lot is available to view on Timeline Auctions Website] [No Reserve] Fine condition.

A 19th century New Zealand specimen wood parquetry dodecagonal table possibly by Winks and Hall of AucklandIn the manner of Anton Seuffert, inlaid with a central stellar of various indigenous woods including kauri, mangeao, towai and rimu on a rewarewa ground, the base in Australian cedar with spirally turned shaft and tripod legs carved with leaves and flowerheads on scroll feet, 45cm diameter, 70cm high.Closely related examples by the celebrated cabinet-maker Anton Seuffert (1815-1887) of geometric inlaid tripod tables are illustrated in B.Peet, The Seuffert Legacy, pp. 111-114. Seuffert intended his similar tables as drawing or sitting room furniture and referred to them as card tables, probably for depositing business or postal cards on rather than for playing cards. Seuffert almost exclusively made circular tables and used concave rather than convex mouldings. The use of well-seasoned cedar as a carcase wood, as in this example, has meant that the top has survived in a better state due to its low moisture content, as opposed to those produced in the sapwood rimu or kauri.

1938 Bentley 4¼ Four-Door Cabriolet Coachwork by Carrosserie Worblaufen Transmission: manualMileage:65583Launched in 1933, the first of what would become known as the 'Derby' Bentleys continued the marque's sporting associations, but in a manner even more refined than before. Even W O Bentley himself acknowledged that the new 3½ litre model - popularly known as the 'Silent Sports Car' - was the marque's finest ever, commenting: taking all things into consideration, I would rather own this Bentley car than any car produced under that name. By the end of the 1930s the 'Derby' Bentley had undergone a number of significant developments, not the least of which was an increase in bore size in 1936 that upped the capacity to 4,257cc, a move that coincided with the adoption of superior Hall's Metal bearings. This new engine was shared with the equivalent Rolls-Royce and enjoyed a superior specification in Bentley form, boasting twin SU carburettors, a raised compression ratio, and a more 'sporting' camshaft. Thus the new 4¼ litre model offered more power than before while retaining the well-proven chassis with its faultless gear-change and servo-assisted brakes.Essentially an owner-driver sports car, the 3½ litre and later 4¼ litre Bentleys found favour with such motoring celebrities as Briggs Cunningham, N S Embiricos, Eddie Hall, Woolf Barnato, and Land Speed Record specialist Sir Malcolm Campbell. In Rolls-Royce and Bentley tradition, customers chose their own bespoke coachbuilders. The likes of Park Ward, Vanden Plas, Gurney Nutting, Barker, and Freestone & Webb were firm favourites in the UK, while European coachbuilders responsible for some memorable designs on the 'Derby' chassis included Van Vooren, Kellner, and Figoni at Falaschi. Unique among 'Derby' Bentleys is this four-door cabriolet by Carrosserie Worblaufen; this being the only pre-war Bentley to carry the Swiss coachbuilder's distinctly Teutonic-style coachwork. Carrosserie Worblaufen had been established in 1929 by Fritz Ramseier, formerly employed by Gangloff of Geneva, and his brothers Hans and Ernst. From humble beginnings Worblaufen swiftly moved upmarket, benefiting from a strong demand for its drophead coupés on quality chassis from the likes of Isotta-Fraschini, Alfa Romeo, Delage, Talbot-Lago, and Mercedes-Benz.This stunning example was despatched to Switzerland via Dover and Dunkirk aboard the SS Shepperton. Bentley Motors' guarantee was issued on 15th September 1938 when the car was delivered via agents S. A. Perrot Duval & Cie of Geneva to its first owner, Professor Dr Hans Wildbolz, a prominent physician.Presented with four-door convertible coachwork, a stunning configuration rarely seen on the 4¼ litre chassis. It is finished in silver-grey while the interior is trimmed in deep red pigskin with chrome framed windows and taut cabriolet hood which when raised gives a sleek coupé appearance, provides ideal snug accommodation while still retaining a stunning appearance, and when lowered provides comfortable motoring in warmer climes. This car also features a most practical wind-up rear screen affording weather protection for the rear passengers while the functional luggage boot contains two fitted silk-lined suitcases. The correct dashboard instrumentation is metrically calibrated, and a coachwork feature is the ingenious door hinging where opening the back door automatically closes the front door and vice versa - something that impresses even the most avid car collector.In 1975, B125LE was first registered with the Bentley Drivers' Club in USA in the ownership of C F Brown of Ohio. In 1985 the Bentley passed to E H Adolph of Connecticut, who then owned the car until 2003 when it passed to well-known West Coast collector, Barrie Hon. In 2004 the car was shipped to Europe and exhibited by invitation on the Concours d'Élégance lawns at Ville d'Este in Italy and was also exhibited that same year at the prestigious Concours d'Élégance at Pebble Beach. In 2007 further restoration was carried out by Chris Kidd's Tired Iron Works of Monrovia, California. Fresh from restoration, the car appeared again at the 2007 Pebble Beach Concours d'Élégance, finishing third in class against formidable competition in one of the world’s most notable Concours events.Upon inspection the car is in excellent condition throughout, supremely elegant Swiss coachwork twinned with the best of British engineering which was fully restored with the intent to present and rub shoulders with the very best. Privately owned by our vendor since 2012 with concourse invites both sides of the Atlantic, B125LE is ready again to participate in the more demanding long-distance motor tour or grace the lawns at Pebble Beach or Ville d'Este. The car is currently UK registered and is offered with a most comprehensive history file containing restoration invoices and copies of the Factory Order and Build Sheets and a (copy) FIVA Identity Card dated July 2004. Viewing is certainly advised for a truly unique offering.Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.

PAIR OF COPELAND SPODE SAUCE TUREENS AND STANDS,circa 1840, along with four matched side plates, a serving dish, also a famille rose punch bowl, a Newhall cream jug, Wedgwood 'The Master' dishes and swan formed dishCondition report: Chinese punch bowl cracked, New Hall extensively crazed and stained, one tureen both sections cracked through, other with chip to rim interior, two Ironstone plates with hairlines, all extensively rubbed and scratched, one of the Doulton hunting twin handled dishes cracked through, swan extensively damaged

A fine and exceptionally rare chiselled and relief-engraved 12-bore sidelock hammer gun by J. Purdey & Sons, no. 10624The action flat and forend numbered '2', the treble-grip action-body profusely chiselled with best foliate-scrollwork in bas-relief, the hammers, lever, trigger-guard and lower tang engraved en suite, the underside engraved with two angels, the trigger guard with the vignette of a cherub, rebounding sidelocks, well figured stock (chipped and repaired at toe), with heel and toe plates finished en suite, the forend (some inset repair to left side) with metalwork finished en suite, the damascus barrels with game rib engraved J. Purdey & Sons, Audley House, South Audley Street, London Weight 6lb. 10oz., 14¼in. stock, 29½in. barrels, approx. cyl. & ½ choke, 2½in. chambers, London Black Powder proof (bore diameters marginal, wall thicknesses at 21 thou)Footnotes:The makers have kindly confirmed that this gun was sold as one of a pair in December 1880 to a Mr. Timothy Hutchinson of Eggleston Hall, Barnard Castle, as 'chased guns' for £204 13s. Hutchinson then returned this pair in July 1882 in exchange for another pair of chased hammer guns. The guns were later split with the No. 1 gun being later sold to King Umberto I of Italy. This No. 2 gun was then sold to a Mr. Eugene Higgins of New York in 1891.Mr. Timothy Hutchinson was a prolific collector of exhibition-grade Purdey guns and rifles, including a pair that was exhibited at the Paris Exhibition in 1878 and now reside at Sandringham as part of the Keane Bequest to the Royal Gunroom.Mr Eugene Higgins was a bon vivant and the heir to his father's lucrative carpet making business, being described as 'The wealthiest bachelor in New York'. After his death in 1948, his estate was valued at more than $40 million (more than $385 million in 2019 dollars) which was later donated to various charities.This lot is subject to the following lot symbols: S2S2 Section 2 lots require a valid British Shotgun certificate, RFD (Registered Firearms Dealer) Licence or import licence.For further information on this lot please visit Bonhams.com

A group of New Hall and New Hall type porcelain teawares, circa 1790, variously painted with flowers, garlands and baskets, comprising three jugs, nine saucers and nine teabowls (minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Flight, Barr & Barr Worcester porcelain inkstand, circa 1820, painted with a titled view of Windsor Castle against a gilt enriched cobalt blue ground, the gilt entwined handle with twin eagle heads, red painted factory mark to base, length 15cm (cracked and restored, missing covers), together with a group of English porcelain, including a Barr Flight teacup and saucer, a New Hall sugar bowl and a pen tray (faults and repairs).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Trollope (Anthony) New Zealand; New South Wales and Queensland; Victoria and Tasmania; South Australia and Western Australia, 4 vol., first separate editions, folding maps, some cracking to hinges but holding firm, original red cloth decorated in black, spine ends and corners a little bumped and frayed, light rubbing to extremities, [cf. Sadleir 40], Chapman and Hall, 1874; and the second edition of the two-volume edition, 8vo (6)⁂ Rare to find all parts together.

[Dickens (Charles)] Sketches by Boz Illustrative of Every-day Life, and Every-day People, New Edition, Complete, first one volume edition, first issue with "reeledbefore" on p.526 and all plates before "Greenwich Fair" (at p. 120) without the Chapman & Hall imprint, frontispiece and 40 etched plates by George Cruikshank, half-title, some very light offsetting, occasional foxing to plates but very clean generally, the odd marginal tear, pulling to a few gatherings with some sheets and 2 plates working loose, cream endpapers, upper hinge repaired, original blind-stamped vertically-ribbed cloth, light sunning to spine, corners a little bumped, some light fraying to joint ends, light rubbing and faint spotting to covers, but a very good copy overall, [Smith p.16 n.4; Eckel pp.14-15], 8vo, Chapman and Hall, 1839.⁂ "When Chapman and Hall obtained the copyright of Sketches in 1837, they published all of them in twenty monthly parts from November 1837 through June 1839... In May, 1839, Chapman and Hall published these parts complete in one volume with all 40 of Cruikshank's illustrations."

Keith Vaughan (British, 1912-1977)Gainsford End Farm, 1976 signed, titled and dated 'GAINSFORD END FARM/1976/Keith Vaughan' (verso)oil on canvas101.6 x 91.4 cm. (40 x 36 in.)Footnotes:ProvenancePrivate CollectionWith Austin/Desmond, LondonPrivate CollectionWith Offer Waterman, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Keith Vaughan, 1976London, Austin/Desmond, Keith Vaughan 1912-1977, 1989, cat.no.107 (ill., p.34)LiteratureMalcolm Yorke, Keith Vaughan, His Life and Work, Constable, London, 1990, pl.59 (col.ill.)Anthony Hepworth and Ian Massey, Keith Vaughan, The Mature Oils 1946-1977, Sansom & Company, Bristol, 2012, p.194, cat.no.AH596 (ill.b&w)In 1964 Vaughan bought a row of derelict cottages on the outskirts of the village of Toppesfield in Essex and, over the course of a year, he renovated them. He spent weekends at Harrow Hill Cottage and created a small studio there in which to work. The painter Michael Ayrton lived at Bradfields on the other side of Harrow Hill Lane and both artists were inspired by the surrounding landscape. The small village of Gainsford End, close to Vaughan's house, inspired no less than six oil paintings over the course of a decade: Gainsford End, 1966; Gainsford End II, 1970; Gainsford End Under Snow, 1970; Gainsford End 1972 nos. I & II, 1972 and the present work, the last in the series. It depicts a close-knit group of farm buildings contained within a tightly arranged composition. Towards the end of 1975 Vaughan's style underwent a significant transformation and nowhere is this more apparent than in his late Essex landscapes. His stylistic reorganization manifests itself in various ways. For example, contours become hard-edged and more precise, compositions are compressed and significantly abstracted and the, hitherto, gestural brushwork flattens out into more even applications. Orderly patches of pigment may be interpreted as the elevations of rural barns; the chevron shapes are derived from the triangular gable ends of farm buildings and the coloured squares and oblongs act as ciphers for painted shed doors or fenestration on local farmhouses. Vaughan was keen to impose a sense of structure on his Essex subjects. As he grew older, he feared that the viscosity of his paint and the sensuous application he had been cultivating over the years, had now become over pronounced. It seems he began to worry that his paintings would become shapeless and over-sumptuous. His desire for additional formalization was imposed upon familiar local landmarks. Cust Hall, Blackmore End and Gainsford End, all within walking distance of Vaughan's studio, boasted buildings fabricated with large and often ancient, timber frames. Their orderly, methodical construction supplied him with blocked-in shapes and narrow, tilting forms to help regularize the layout of his architectural subjects. We are grateful to Gerard Hastings, who is currently working on his new book Keith Vaughan: The Graphic Art, to be published by Pagham Press, for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikos Engonopoulos (Greek, 1907-1985)Le retour de Bessarion signé en grec et daté '54' (en bas à droite)huile sur toile65 x 46.5cm (25 9/16 x 18 5/16in).Peint en 1954.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceN. Gonatas collection, Athens.Private collection, Athens.ExposéAthens, Zappeion Hall, X Panhellenic Art Exhibition, July 15 - October 20, 1969, no. 134 (listed in the exhibition catalogue under the title Euclid, according to Cat. Rais.). Athens, Portalakis Collection venue, The search of Modernity - the Transition to Greekness, January 22 - July 31, 2007 (mentioned, p. 11, and illustrated in the exhibition catalogue, p. 103).LittératureD. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, p. 269 (listed), pp. 236-239 (discussed), fig. 67.1 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 505, p. 287 (illustrated), p. 448 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 378-379 (discussed), p. 380, fig.138 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007 (listed and illustrated).'Unfortunately, I never owned an Engonopoulos. Gonatas, instead, has managed to buy one or two of his paintings.'Miltos Sachtouris1 Inspired by the nobility of bygone times and drawing from the vast storehouse of Greek history and tradition, Engonopoulos pays homage to Bessarion (1403-1472), a great Byzantine Greek scholar and humanist and later Catholic Bishop and titular Latin Patriarch of Constantinople. A student of the celebrated Neoplatonist Gemistus Plethon, Bessarion contributed to the dissemination of Greek letters in the 15th century and fought for the liberation of the Ottoman-occupied territories of the Hellenic world. His palazzo in Rome was a virtual Academy for the studies of new humanist learning, and a center for Greek exile scholars and diplomats. As noted by historian E. Glykatzi-Arhweleir, Bessarion was a major contributor to the Italian Renaissance. 'Thanks to the intellectually challenging environment he found in Venice, he brightened the Greek name. The spirit of Greece traveled to the West only to triumphantly return later, by way of Crete and the Ionian Islands, to the enslaved metropolis.'2 Engonopoulos portrays Bessarion as an elegant male nude reminiscent of Minoan frescoes or El Greco's saints.3 He is standing on a cobblestone pavement in front of a stately Renaissance-style palazzo, probably his Rome residence and the centre of his celebrated Academy. The mansion's wine-red façade is adorned with a niched statue and a pair of wall-mounted fragments of ancient sculpture, while a cluster of adjacent palm trees suggests the existence of a lush garden hidden behind the tall brick wall on the foreground. Engonopoulos's Bessarion wears a heraldic galero rosso, the scarlet broad-brimmed hat with tasselated strings reserved for Catholic cardinals.4 He is holding a stringed instrument (lute)5 in his right hand and a bow (or a sword) in his left to keep an approaching giant scarab at a safe distance. As noted by scholar D. Vlachodimos, 'the handling of the subject clearly speaks about Bessarion's contribution to the beginning and evolution of the Renaissance movement. Isn't the lute a symbol of poetry, music and art? Shouldn't the scarab, this ancient Egyptian symbol of eternal life and the human soul, be interpreted as a direct reference to Platonic philosophy, which Bessarion was largely responsible for disseminating to the West? What's more, aren't the palm trees in the mansion's garden, along with the symbolic overtones of the ancient sculpture on its walls, an indirect, yet clear, reference to the East? Ultimately, doesn't Bessarion represent the combination of eastern and western elements, which, in short, is the essence of the Renaissance?'6 1 As quoted in M. Sachtouris, 'A Wonderful Man', interview [in Greek], Lexi magazine, no. 179, p. 47.2 See E. Glykatzi-Arhweleir, Why Byzantium [in Greek], Greek Letters editions, Athens 2009, p. 75.3 See M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.4 Similar hats worn by Greek patriarchs are depicted in 16th c. representations (see History of the Hellenic Nation, Ekdotiki Athinon editions, vol. X, pp. 98, 119).5 Compare N. Engonopoulos, Apparition de Rigas Pheraios en Eubée, sold by Bonhams, Greek Sale, May 18, 2010, lot. 38.6 D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 239.« Malheureusement, je n'ai jamais possédé une œuvre d'Engonopoulos. Gonatas, au contraire, a réussi à acheter une ou deux de ses toiles.» - Miltos Sachtouris Inspiré par la noblesse des temps anciens et puisant dans le vaste patrimoine historique et culturel grec, Engonopoulos rend hommage à Bessarion (1403-1472), grand érudit et humaniste gréco-byzantin, puis évêque catholique et patriarche latin de Constantinople. Élève du célèbre néo-platonicien Gemistus Plethon, Bessarion a contribué à la diffusion des lettres grecques pendant le 15ème siècle et lutté pour la libération des territoires du monde hellénique occupés par les Ottomans. Son palais à Rome était pratiquement une Académie d'études du nouvel humanisme, et un centre pour les étudiants et les diplomates grecs en exil. Comme l'a fait observer l'historien E. Glykatzi-Arhweleir, Bessarion a apporté une contribution majeure à la Renaissance italienne. « Grâce à l'environnement intellectuellement stimulant qu'il a trouvé à Venise, il a fait rayonner le nom de la Grèce. L'esprit de la Grèce n'a voyagé vers l'ouest que pour en revenir triomphalement plus tard, via la Crète et les îles ioniennes, et regagner la métropole en esclavage.» Engonopoulos portraiture Bessarion comme un homme élégant, qui rappelle les fresques minoennes ou les saints du Greco. Il se tient sur un sol pavé en face d'un majestueux palazzo de style Renaissance, probablement sa résidence de Rome et le centre de sa célèbre Académie. La façade lie-de-vin de la demeure est ornée d'une statue dans une niche et d'une paire de fragments de sculptures antiques adossés au mur, tandis qu'un ensemble de palmiers adjacents suggère l'existence d'un jardin luxuriant caché derrière le haut mur de briques au premier plan.Le Bessarion d'Engonopoulos porte un galero rosso héraldique, le chapeau écarlate à large bord et glands réservé aux cardinaux de l'église catholique. Il porte un instrument à cordes (luth) dans sa main droite et un arc (ou une épée) dans sa main gauche, afin de tenir un scarabée géant qui s'approche à bonne distance. Comme le note le Pr. D. Vlachodimos, « le traitement du sujet parle clairement de la contribution de Bessarion à la naissance et à l'évolution du mouvement de la Renaissance. Le luth n'est-il pas un symbole de la poésie, de la musique et de l'art ? Le scarabée, qui symbolisait la vie éternelle et l'âme humaine dans l'antiquité égyptienne, ne doit-il pas être interprété comme une référence directe à la philosophie de Platon, que Bessarion a largement diffusée en Occident ? Qui plus est, les palmi... For further information on this lot please visit Bonhams.com

A large cast iron hall stand in the Coalbrookdale style, H: 203 cm. Condition report: Slight bend towards the top but no damage or chunks missing, Would need new bolts. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

1951 Festival of Britain - the London Philharmonic Orchestra, Conductor Sir Adrian Boult, Royal Festival Hall, Programme and Victoria & Albert Museum 5th Concert (10 June), Myra Hess, New London Orchestra - Arts Council of Great Britain, Festival of Britain Concert. (2 pamphlets)

A Meissen tea caddy and cover, tea bowl and saucer, 18th century, with puce decoration, two porcelain tea bowls, a coffee cup and 2 saucers, early 19th century with puce decoration and a New Hall tea bowl and saucer with moulded wrythen decoration and painted stylised flowers (11)Condition report: Meissen with no obvious major faults.Puce - saucers broken and re-glued, tea bowl ditto.New Hall - no obvious major faults

Three New Hall and other tea bowls and saucers, a Derby fluted teacup and saucer and two Davenport and Spode teacups and saucers, c1790-1820, Spode saucer 13.5cm diam, variously marked or unmarked One earlier saucer with chip on rim. The other items in good condition or slight wear only

FOLK ROCK/ JAZZ - LPs. A quality collection of 32 LPs. Artists/ titles include Van Morrison (x14) inc Astral Weeks (K46024), Veedon Fleece (839 164-1), Tupelo Honey, Hymns To The Silence, Hard Nose The Highway, His Band And The Street Choir, Irish Heartbeat, Enlightenment, Beautiful Vision, Avalon Sunset, TB Sheets. John Martyn inc Piece By Piece (790507-1), The Road To Ruin (ILPS 9233), Glorious Fool, Sapphire, Grace & Danger. Joni Mitchell - Wild Things Run Fast. Tim Buckley - Greetings From LA, Pat Metheny inc Works II (837 272-1), Letter From Home. Hugh Masekela inc Waiting For The Rain, Liberation. Basia - London Warsaw New York. Stanley Clarke - The Collection. John McLaughlin inc Shakti With, Live At The Royal Festival Hall. Lyle Mays, The Falcon And The Snowman, Zakir Hussain - Making Music (831 544-1), Fairport Convention. Condition is generally VG to Ex.

The entertaining wing of the 'Gay Nineties' mansion dolls' house by Gertrude Sappington 1940s, with cream-painted clapboard facade, break front with ten glazed windows, front door with arched skylight above, circular attic window, side door with window above, chimney and green painted roof, the back open to reveal six rooms including an ornate parquetry floor, internal pillared doorway, elaborate staircase, connecting doorways to main house and original decoration --46in. (117cm.) long x 26½in. (67.5cm.) deep x 34½in. (87.5cm.) high (slight damage, missing sliding perpex back) - The famous Gay Nineties mansion, once valued at $150,000, was created by Miss Sappington of Baltimore, started in the 1940s and was complete over the next 15 years. The central section was inherited from her mother and created in 1875. The house featured in the Sunday Sun Magazine in 1959 and Architectural Digest in 1975 (comes with this magazine); and a quantity of related paperwork including a copy of a letter from Flora Gill Jacobs. The house was exhibited in San Fernando Valley 1958, Baltimore Museum of Art 1960-61, New York 1960s, Bolton 1976, Manchester 1978 and Leighton Hall 1982-85 (sold with a photocopy of this exhibition brochure). The whole house was then sold at Christie's South Kensington on 17th May 1990 as lot 108; the servant's wing was sold in there rooms in June 2021.

21 Club Advertising cigar ashtray by Hall with metal Jockey in red and yellow racing colours and cap in the centre of a ceramic tray with gold painted ridges to hold the cigars. To the centre is a raised match holder with a gold-painted '21' to the middle. Also included is a black cardboard case of matches from 'Orsinis' NY. Ashtray diameter 23cm (9in).The 21 Club was a famous bar and ex-prohibition speakeasy in New York and recently closed during the pandemic. The exterior staircase was adorned with numerous jockey statues and the interior has an eclectic collection of items suspended from the ceiling. The wine cellar held the private collections of many famous people over the ages including John F. Kennedy, Richard Nixon, Elizabeth Taylor, Frank Sinatra, Gene Kelly and Marilyn Monroe.Condition report: The ashtray is incomplete as the jockey would usually be holding a couple of birds (pelicans) in his left hand. The jockey has lost some paint and is loosely attached to the base.

Registration No: OKV 421Chassis No: 1E50175MOT: ExemptL77-4, the third Lynx D-Type completed and supplied new to Blair Hamilton who was a friend of the company founder, Guy BlackInitially built to long nose, high tail 1955 specification and subsequently updated by Lynx to Works 1956 trim complete with a wraparound windscreen and two doorsAluminum body crafted by Williams and PritchardRaced in Canada, Europe, and the UK but since converted to fast road specificationThe first Lynx D-Type to be fitted with dry sump lubrication Founded by Guy Black and Roger Ludgate in 1968, Lynx soon became renowned for their Jaguar C-Type, D-Type and XKSS expertise (even working on the Coventry manufacturer’s own heritage fleet). Launched at the London Racing Car Show in 1974, the Lynx D-Type was a highly convincing Evocation. Typically employing a Jaguar E-Type donor, it featured an authentic alloy monocoque and aluminium bodywork by Williams & Pritchard. According to an accompanying dossier from The Lynx Register, ‘OKV 421’ was the third Lynx D-Type completed. Commissioned by Blair Hamilton of Classic & Thoroughbred Motors Ltd in Vancouver, who was a friend of Guy Black, it was built to 1955 specification complete with a long nose, high tailfin and single screen. Raced at Club level and the subject of an article in the Vancouver Sun newspaper on 25th January 1978, the D-Type was repatriated some two years later. Reportedly passing through the hands of Victor Gauntlet, Casper McDonald Hall and John Baynes thereafter, the latter had a slight off at Brands Hatch which saw the two-seater returned to Lynx for minor repairs. Bought by Barry Eastick during 1983, not long after it had graced the front cover of Sporting Cars magazine, ‘OKV 421’ resumed its competition career the following decade at the Nurburgring, Silverstone and Spa-Francorchamps etc (having been the first Lynx D-Type converted to dry-sump lubrication). Looked after by John Pearson and Martin Greaves from 1989 onwards, the two-seater entered the current ownership in May 1997 for £69,000. Preferring to enjoy ‘OKV 421’ as a fast road car, the vendor tasked Lynx with reconfiguring it to Works 1956 specification (hence the addition of a passenger door and full-width wraparound windscreen). Taken off the road with an electrical issue some ten years ago, the two-seater has remained garaged ever since. Still registered under its Jaguar E-Type donor identity, this fabulous Lynx D-Type has the makings of a very worthwhile project. Offered for sale with a large history file dating back to 1976.Footnote: For more information, please contact:Mike Davismike.davis@handh.co.uk07718 584217

Diana Rigg: A velvet full length dress coat and sequined top, worn at a Game of Thrones premiere,2014,the dress coat custom-made of black velvet by Bruce Oldfield of London, label to inside neck, the green sequined top by Madeleine, label to inside neck, accompanied by a provenance certificate, dress coat 61in long; top 28in (71cm) long (2)Footnotes:Diana Rigg attended the Game Of Thrones Season 4 US premiere wearing the present coat and top, held at Avery Fisher Hall, Lincoln Center, New York on March 18, 2014.For further information on this lot please visit Bonhams.com

Fairport Convention: Dave Swarbrick's Violin, Used To Record The Landmark Album Liege And Lief,German, circa 1900,indistinct label believed to read Domenico Montagna sud al Signe fecit Venius anno 1799, with jack socket and additional wooden strip, internal wiring, front with small hole filled in, back with three-screw plastic plate, in fitted case with engraved white metal rest plates and bow, 23 1/2in (59.6cm) longFootnotes:Provenance: Offered by Jill Swarbrick-Banks.In an in-depth article in Uncut magazine, Michael Bonner describes Fairport Convention's Liege And Lief as '...the record that invented - and set the benchmark for - folk rock in Britain.' Released in December 1969, this, the band's fourth album, came out of the trauma of the motorway crash involving the band's van in May of that year, as they were on their way home from a gig in Birmingham. Their 19-year-old drummer, Martin Lamble was killed, as was guitarist Richard Thompson's American girlfriend, Jeannie Franklyn. Thompson, bassist Ashley Hutchings and rhythm guitarist Simon Nicol all received hospital treatment. Vocalist Sandy Denny had been travelling in another vehicle.Regrouping after the accident, Fairport recruited Dave Mattacks as drummer, following his appearance on their third album, Unhalfbricking, and another guest musician, violinist Dave Swarbrick, became another full-time member of the band. Shortly afterwards, in July, the band took up residence in Farley House in the village of Farley Chamberlayne, Hampshire. It was hoped that the seclusion and rural setting would help them recover from the accident. Richard Thompson has said of this period: 'We were only a few months after losing Martin Lamble, and I think we were still in shock, so this was a healing time. The environment was perfect, and the mission kept us sane.' Over the next few months, working long hours, the band rehearsed and honed the material that would become Liege And Lief. Photographer Eric Hayes, who had shot the cover for Unhalfbricking, stayed with the band at Farley House and captured the essence of their time there. Writing to the vendor in 2020, a lasting memory of his stay was waking up in the morning to the sound of Dave's fiddle coming up the stairs from the living room.The band eventually emerged from this rural idyll to appear at a hugely successful comeback concert in London's Royal Festival Hall on 24th September. In October they then went into the Sound Techniques studio with producer Joe Boyd and engineer John Wood to record the album's eight tracks, a mix of new compositions and traditional British folk songs and jigs.The band's adoption of amplified instruments for music that was hitherto an acoustic genre posed a problem for Swarbrick in how to amplify his sound to match that of the guitars and drums. Early attempts involved dismantling a telephone and strapping the receiver to the violin. John Wood, writing in July 2021, recalled the recording of Dave's violin or viola when electrified. Although some devices were then available for amplifying acoustic guitars, there were none suitable for use on a violin. For Liege And Lief, a simple contact microphone was attached to the top of the instrument and then fed to an amplifier. However, the combination of the poor response from the microphone, a tendency to feedback with the amplifier and Dave's hearing difficulty made this unsophisticated set-up very difficult to record as the tracks were all recorded live with few overdubs. The resulting album, however, belies such problems. In an effort to find a more satisfactory solution to the problems, Dave then spent some time consulting Cyril Jones who worked for Sound Techniques at their manufacturing facility in Suffolk.Although reasonably successful on release, reaching No. 17 in the UK Top 20 album chart, Liege And Lief has in the subsequent decades achieved a somewhat iconic status. At the 2006 BBC Radio 2 Folk Awards, it was voted as Most Influential Folk Album Of All Time and in 2007 Mojo magazine listed it at No.58 in its 100 Records That Changed The World.Literature:Uncut, Michael Bonner, June 2016, the article originally published in the September 2007 issue.For further information on this lot please visit Bonhams.com

A New Hall Boy at the Window cider mug, pattern No 425 c.1810 and other mostly 19th century ceramicsfirst marked 425425 in red together with a Spode moulded plate c.1820 finely painted with sprays of flowers, gilt rim, a Wedgwood whiteware Japan No 2 pattern dinner plate and two dessert plates, a New Hall teapot lacking cover, pat 173, a basket weave moulded pink lustre milk jug, two moulded creamware coffee cups and three tea bowls and saucers, Staffordshire cat seated on a cushion painted with flowers, etc.(qty)first height 13 cm.Condition: First two hairlines running from rim by handle and body. Inner rim slightly rubbed and some occasional small chips/wear to the body. Spode plate with light surface wear and scratches, rubbing to gilt, teapot lacking cover. Small chip to spout of milk jug. Small chips to rims of creamware coffee cups. Pair of tea bowls with crazing, chip to saucer rim.

JESÚS RAFAEL SOTO (Venezuela, 1923 - France, 2005).Untitled, ca. 1992, from the Suite Olympic Centennial.Silkscreen on Vélin d'Arches paper, copy 58/250.Signed and dated in pencil in the lower right corner.Measurements: 63 x 90 cm.Venezuelan artist formed in the School of Art of Caracas, Jesús Soto was an outstanding representative of the kinetic art, which he initiated and developed at the end of the fifties. Between the seventies and the nineties, already fully consecrated at the international level, he held important exhibitions in places such as the MOMA and the Guggenheim in New York, the Georges Pompidou Center in Paris, etc. He also participated in the 1966 Venice Biennial and the 1996 São Paulo Biennial. Especially famous for his penetrable sculptures, he also carried out projects such as the decoration of the main hall of the Teresa Carreño Theater in Caracas. Soto was awarded Venezuela's National Plastic Arts Prize, and in 1973 the Venezuelan government inaugurated a museum in his honor in his native Ciudad Bolivar. He is currently represented in important collections such as the Guggenheim Museum in New York.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colors that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

AMERICAN FOOTBALL, commemorative covers 1960s-1990s, inc. Pro Football Hall of Fame, opening of Louisiana Superdrome New Orleans 1971, Sun Bowl Crimson Tide Alabama v Mustangs 1983, Jim Thorpe Kings of Sport 1974, Copper Bowl Baylor v Indiana 1991 etc., G to EX, 29*

WALTER RICHARD SICKERT (BRITISH 1860-1942)SPECTATORS AT THE OLD BEDFORD MUSIC HALLCrayon and chalkIndistinctly inscribed (lower right)44.5 x 34.5cm (17½ x 13½ in.)Provenance:Gifted by the artist to Dame Edith Sitwell DBE (1887-1964), at 2 Carlyle Square, LondonThence by descent at Weston Hall.Literature:Osbert Sitwell, 'A Short Character of Sickert', introduction to 'A Free House! The Writings of Walter Richard Sickert', ref. p. xiii-xiv, ill. facing p. xviWendy Baron, Sickert: Paintings and Drawings, New Haven & London, 2006, p.180, cat. no. 49.2 Catalogue Note: Osbert Sitwell refers directly to this picture in his memoires : "I was still at Eton and had just arrived at Renishaw for the summer holidays and my sister - then my only link with the living arts - returned, about the same time from her first grown-up visit to London, bringing with her a drawing, upon tawny-coloured paper, of the heads, crowned with the large hats of the period, of four or five women sitting in the back seats of a music-hall. It is, indeed, a memorable drawing in its simplicity, in the way the faces are placed on the paper, and in the brooding intensity and expectation that characterise their look. Greatly impressed, I asked who was the author of this work so new to me, and where she had acquired it, and she answered with great pride that it had been given to her by a great artist called Sickert." Osbert Sitwell, op. cit. p. xiii.We are grateful to Dr. Wendy Baron for her kind assistance in cataloguing this work.Condition Report: Under glass and unexamined out of frame. Executed on buff coloured wove paper. A small area of surface skinning to the centre of the left edge. A couple of bleached spots to the lower left quadrant and a couple of artist's pinholes to both upper left and right corners. A tear running off the lower edge at the lower left corner, approx. 5cms. A small wrinkle to the centre of the right hand edge. Two small holes to the lower right quadrant.  Condition Report Disclaimer

EDITH SITWELL. (1887 1964). Autograph Letter to Sacheverell Sitwell, Renishaw Hall, (c. 1947). An autograph letter from Edith Sitwell to her youngest brother Sacheverell, 4pp., 56 lines, from Renishaw Hall, (Derbyshire), in black ink to both sides of 2 leaves; Edith congratulates Sacheverell on the recent publication of his book 'the Hunters and the Hunted'. She encloses one of her unpublished poems telling Sacheverell it mustn't be shown to anyone until it has been published. Edith writes of her intention to also send a copy of the unpublished poem to Henry Markham in gratitude for his letter, commenting 'it is one of the nicest letters I have ever had', Markham had written to Edith inviting her to give a lecture, but due to work commitments, she was unable to accept. Edith enthusiastically updates Sacheverell with news of his recent publication, 'I went to Boots Book department store at Sheffield on Saturday, and the old boy who is head of it told me he had heard from Macmillan that 'the Hunters & the Hunted' is sold out, if so, it is wonderful that a book of that price should go so quickly. What did I say to you? The book is such a miracle of beauty, pace, excitement and learning, a giant pride. As I said to Georgia even the old Times Literary Supplement which never gets excited about anything except Doctrines in religion, has got excited about this. - I hope and believe it will go to edition after edition,' closing the letter, Edith apologises to Sacheverell, 'this is a most awfully stupid letter . . . I had a wisdom tooth out a few days ago after an abscess on an exposed nerve and I am still feeling a bit rotten', within a clear protective sleeve, NPG. printed label to front. Sacheverell Sitwell's book 'the Hunters and the Hunted' was published London & New York: Macmillan, 1947, dealing primarily with European art. Edith Sitwell had detected a poetic nature in her youngest brother's works, and continuously encouraged him. Provenance: The Sitwell Family Library, Weston Hall. Condition Report: folded and clean.Condition Report Disclaimer

Ɵ SITWELL, Edith. (1887 - 1964). Five Works: English Women. Author's Presentation copy to Sacheverell Sitwell, 1942, and four others, 1940-1950. comprises: English Women. Author's Presentation copy to Sacheverell Sitwell. Britain in Pictures series, William Collins, London, 1942. first edition, 8vo., (230 x 165mm), pale blue paper boards, lettered in white to front and spine, matching dustwrapper, unclipped, inscribed by the author to her youngest brother, in black ink on front free e/p., 'For my darling Sachie / with very best love from / Edith', half-title, 47pp; The Song of the Cold. London, Macmillan & Co. Ltd., 1945. first edition, 8vo., (222 x 145mm), navy-blue cloth, gilt lettered to spine, dustwrapper unclipped, half-title, 116pp; Green Song and Other Poems, London: Macmillan & Co. Ltd., 1944. first edition, 8vo., (222 x 145mm), green cloth, gilt lettered to spine, dustwrapper unclipped, half-title, dedicated to Bryher, 35pp; Poems Old & New, Faber &Faber, London, 1940. first edition, 8vo., (192 x 130mm), publisher's brown paper boards, lettered in black to front and spine, dustwrapper unclipped, still showing price 2/6 net, half-title, 80pp; A Book of the Winter. London: Macmillan & Co. Ltd., 1950. first edition, 8vo., (197 x 135mm), publisher's maroon cloth, gilt lettered to spine, dustwrapper unclipped, half-title, dedication to Alice Bouverie, 86pp.Provenance: The Sitwell Family Library, Weston Hall.    

Ɵ SITWELL, Edith. 1887 - 1964). The Canticle of the Rose Poems: 1917-1949, inscribed by Sacheverell Sitwell, The Vanguard Press, Inc. New York, 1949, with Two Related Autograph Letters, 1981, and four other vols., 1909-1973. comprises: SITWELL, Edith. 1887 - 1964). The Canticle of the Rose Poems: 1917-1949, inscribed by Sacheverell Sitwell, The Vanguard Press, Inc. New York, 1949. first US. edition, 8vo., (240 x 163mm), publisher's black cloth, pink rose and gilt lettering to spine, dustwrapper unclipped, inscribed and dated by the author's youngest brother in black ink to half-title, 'To Philip Collins / this copy of my sister's poems / 'The Canticle of the Rose'/ 1917-1949 / Sacheverell Sitwell / 3rd December / 1981'; with two Autograph letters loosely inserted, the first letter - 2pp., 22 lines, from Philip N.H. Collins, written to Sir Sacheverell Sitwell, dated 16.12.81, 'Dear Sir Sacheverell / Please could / you tell me why I can't get / a copy of your sisters poems / for love nor money? I consider / her to be one of the most brilliant poets this country has / produced and I think it is an / outrage that paperback volumes / are not available when / trash by so called 'poets' not / worth the paper they're printed on / flood the books shops. / Do you know if / any publications are contemplated / which will make available / at prices we can afford, / her wonderful work? . . .', the second letter - a response to Philip N.H. Collins, from Sacheverell, 1pp., 7 lines, written in black ink to Weston Hall printed headed paper, dated 30 December, 1981, 'Dear Mr. Collins, / I have your letter - and at once / went down to the old kitchen, which / contains my sister's library - and at / once found this book of poems - which / I hope you will approve and enjoy. I do not know / who it / belonged to! / Yours sincerely, Sacheverell Sitwell'; GRIGSON, Geoffrey. (1905 - 1985). Thornton's Temple of Flora with bibliographical notes by Handasyde Buchanan. London, Collins, 1951. folio, (435 x 312mm), original cloth-backed boards, printed title label to front, gilt lettered labels to spine, 12 colour plates, 24 monochrome collotype plates, all with tissue guards, text by Grigson, bibliographical notes by Buchanan and botanical notes by William T. Stearn. This edition was designed by George Rainbird and Ruari McLean, set and printed in Amsterdam from the original volume at the Eton College Library, bound at W. H. Smith and Sons, London; The wrapper design and label based on the original parts. The label and calligraphic title-page drawn by John Brinkley; SITWELL, George Sir, Baronet. (1860 - 1943). An Essay on the Making of Gardens being a Study of Old Italian Gardens, of the Nature of Beauty, and the Principals involved in Garden Design. London: John Murray, 1909. first edition, 8vo., (225 x 147mm), publisher's grey cloth, colour blocked Italianate garden scene to front boards with black short title, gilt lettering to spine, top edge gilt, dustwrapper unclipped, 110pp. and 2pp. adverts at end; together with SITWELL, Sacheverell. Old Fashioned Flowers, Illustrated by John Farleigh, London: Country Life Limited, 1939, with a handmade gift card loosely inserted, ink manuscript inscription, 'To be passed on to William one day, Mary'; SITWELL, Edith. A Book of Flowers, London: Macmillan & Co. Ltd., 1952; MITCHELL, Peter. European Flower Painters. London: Adam and Charles Black, 1973.Provenance: The Sitwell Family Library(Qty. 8).Condition Report: 1. The Canticle of the Rose - clean boards, corners a little scuffed, spine bumped head/tail, dustwrapper unclipped, worn and chipped (with loss), and tape repair to inside top of spine, e/ps. a little marked, some toning internally o/w. clean.2. 3. The two Autograph letters, with fold creases, and clean.4. Thornton's Temple of Flora - minor marks to boards, spine bumped at tail and labels on spine slightly detaching at corners, e/ps., with light marks, front e/ps., o/w. text and plates bright and clean.5. An Essay on the Making of Gardens . . - clean bright cloth boards, corners very slightly scuffed, spine bumped head/tail, dustwrapper worn and marked, front flap present but hanging on, lacks lower flap and torn (with loss) top and centre of spine, bright gilt, foxing to edges and further light foxing throughout.6. Old Fashioned Flowers - cloth marked, spine bumped head/tail, dustwrapper has price neatly cut out, with edge nicks and foxing, within glassine wrapper, foxing to edges affecting leaf edges, and further foxing internally to some pages of text, plates clean.7. A Book of Flowers - clean bright cloth boards, gilt lettering to spine bright, spine slightly bumped head/tail, dustwrapper unclipped, a little worn and marked, e/ps. marked, toning internally o/w. clean.8. European Flower Painters - clean bright red gilt cloth, green top, dustwrapper unclipped, a clean copy.Condition Report Disclaimer

EDITH SITWELL: SELECTED LETTERS OF EDITH SITWELL. TYPESCRIPTS, David Higham Associates, Ltd., 1919-1964. a group of approx. 190 loose typescript letters, selected and edited from original letters written by Edith Sitwell. comprises: 1pp. title page, in blue ink manuscript, 'David Higham Associates Ltd., / Selected Letters of / Edith Sitwell / Edited by / John Lehmann / & David Parker', 3pp. typescript Introduction, the letters mostly 2pp., (a few 4pp.), to one side of single leaves, stapled to top l.h. corners, and numbered 3 - 440, written to 60 plus recipients from Edith Sitwell's various addresses in London, Paris, New York, Los Angeles, and the Sitwell family residences, Castello di Montegufoni, Italy, Renishaw, Derbyshire and Weston Hall, Northamptonshire, the selected letters begin 14th March, 1919 with Edith's letters to Wilfred Owen's mother, Susan Owen, the collection includes correspondence to Dylan Thomas, Harold Acton, Jean Cocteau, T. S. Eliot, Stephen Spender, Virginia Woolf, John Gielgud, Noel Coward, Alec Guinness, Graham Greene, Benjamin Britten and other notable writers and artists, many of whom were to remain close friends throughout her life. The letters reveal a fascinating portrait of Dame Edith Sitwell's witty, imaginative and at times vulnerable personality. Later published, LEHMANN, John: PARKER, Derek. 'Selected Letters of Edith Sitwell'. Vanguard Press, NY, 1970 and Macmillan & Co Ltd, London, 1970. (Qty. approx. 190).Provenance: The Sitwell Family Library, Weston Hall. 

PAVEL TCHELITCHEW (RUSSIAN 1898-1957)BULL FIGHTERS A decorated fanSigned and dedicated To Edith on your birthday (lower right)Overall: 40 x 63.5cm (15½ x 25 in.)Painted in 1934.Provenance: Gifted by the artist to Dame Edith Sitwell DBE (1887-1964), at 2 Carlyle Square, LondonThence by descent at Weston Hall.Exhibited:London, National Portrait Gallery, The Sitwells, October 1994 - January 1995, no. D19/cat. 4.59Catalogue Note:A number of artworks in this sale by the Russian-born surrealist painter, set designer and costume designer, Pavel Tchelitchew (1898-1957), were in the personal collection of Edith Sitwell (1887-1964), poet and literary critic, known for her exotic dress and dramatic lifestyle. Tchelitchew, described as 'the love of her life', was for Edith 'an unhappy platonic romance that dragged on for a quarter of a century' (D. Seward, Renishaw Hall: The Story of the Sitwells, London, 2015, p. 193). Tchelitchew was openly homosexual but despite this, in 1932, Edith moved to the rue Saint-Dominique, Paris, to be close him, and remained there until 1939 when she was forced to return to Britain at the outbreak of war. Tchelitchew painted six major portraits of Edith during the course of a long and volatile friendship; including a gouache in the National Portrait Gallery, London (NPG 5875), and a gouache at MOMA (173.1978). Some of the drawings and lithographs in this sale were individual gifts by the painter to Edith, with hand-written notes - including lot XX, portrait of Dame Edith Sitwell, seated. However, undoubtedly, Tchelitchew's interest in Edith was purely intellectual, and possibly financial; he describing her as: 'a beautiful sheltered eroticism, the purely passive female sensibility that lives forever, a glass flower under glass, behind the opaque façade so remarkable in itself'. Edith's brother, Osbert (1892-1969), 5th Baronet, was also a great collector of 20th century art - including works by John Piper, Christopher Nevinson, Rex Whistler, and Tchelitchew.Pavel Tchelitchew(1898-1957)Born to an aristocratic family of landowners, who fled Russia after the Bolshevik Revolution in 1917, Tchelitchew studied under Aleksandra Ekster at the Kiev Academy; his early work was abstract in style described as Constructivist and Futurist, and influenced by Ekster. After graduation, he designed and built theatre sets in Odessa and later Berlin from 1920-1923. In 1923, he went to Paris where he became associated with the Neo-romanticism movement. There, he met the Sitwell family through the American novelist and art collector, Gertrude Stein. His interest in uniting painting, film and dance led to collaborations with the ballet impresario Sergei Diaghilev and choreographer George Balanchine. Tchelitchew is known for his experimentation with new styles, which led to combining multiple perspectives and elements of surrealism and fantasy into his painting. In 1930, he was in New York, exhibiting drawings at the Museum of Modern Art; his most significant work is the painting 'Hide and Seek', painted in 1940-42, and now at MOMA. In 1934, having made a permanent move to New York from Paris with his partner, the poet, Charles Henri Ford, he continued his association with Balanchine, and met his greatest patron, Lincoln Kerstein. In addition to his paintings, Tchelitchew designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939).  Condition Report: Unexamined out of glazed frame. Executed on wooden and fabric fan. The upper centre edge of the fan is coming away from the backing mount. Otherwise, appears to be in good original condition. Condition Report Disclaimer

Ɵ ART REFERENCE: 13 volumes, 1929 - 1973, including 6 exhibition Catalogues, 1966 - 2002. comprises: THE STUDIO: Famous Water-Colour Painters Thomas Rowlandson. Introduction by Sir Osbert Sitwell. Presentation copy from Sir Osbert Sitwell to Georgia Sitwell. London: The Studio, 1929. first edition, 4to., (304 x 205mm), Volume VI in the Famous Water-Colour Painters series, salmon pink paper boards, cream label lettered in black to front, dustwrapper unclipped, inscribed by Osbert Sitwell to his sister-in-law, in blue ink to front free e/p., 'For dearest Georgia / from Osbert. / Oct 1927', 10pp. Introduction by Osbert Sitwell, 8 colour plates with captioned tissue guards: MAJOR, Emil. Major, Emil. (1879 - ). / GRADMANN, Erwin. (Gradmann, Erwin. (1908 - 1985). VRS. GRAF. Home & Van Thal London 1947. first UK. edition, folio., (302 x 237mm), orange gilt cloth, dustwrapper unclipped, frontispiece tipped in, Prefatory Note by Kenneth Clark, frontispiece tipped-in, 38pp, 151 illustrations; SHAW, J. Byam. ((1872 - 1919). The Drawings of Francesco Guardi. London: Faber and Faber, (1951). first edition, 4to., (288 x 198mm), publisher's grey cloth, gilt lettered to blue panel on spine, dustwrapper unclipped, 86pp. text, 80pp. full-page b/w. plates; RUBENS PAINTINGS AND DRAWINGS. Phaidon Press, George Allen & Unwin Ltd, London, 1939. first edition, 8vo., (265 x 195mm), beige cloth, lettered in brown to front and spine, dustwrapper unclipped, half-title, 45pp. text, 231 leaves of b/w. and colour plates, (some folding); MORASSI, Antonio. Tiepolo. Instituto Italiano D'Arti, 1943. first edition, 4to., (253 x 205mm), 49pp. text, 144pp. plates, (2 being colour); together with EL GREGO. Phaidon Edition, London: George Allen & Unwin Ltd., 1938, first edition, 4to., blue gilt cloth, pink label to front pastedown, ex Library copy from the Permanent Library of The Times Book Club; NIEMEJMEIJER, J.W. Cornelis Troost, Assen: van Gorcum & Comp., 1973. 4to., maroon gilt cloth, dustwrapper unclipped, Dutch text, b/w. in-text illustrations throughout, 450pp; together with six exhibition catalogues including The Glory of Venice, Art in the Eighteenth Century, London, Washington, 1994-95; Van Dyck, Antwerp, London, 1999; Wright of Derby, London, Paris, New York, 1990; George Romney, NPG. London, 2002; Tiepolo A Bicentenary Exhibition, Fogg Art Museum, Harvard University, 1970; Canaletto, Villa Hugel, Essen, 1966.Provenance: The Art Library of Sir Sacheverell Sitwell, Weston Hall.(Qty. 13).

SACHEVERELL SITWELL. (1897 - 1988). A Manuscript Notebook Diary. 1920 - 1929. a single notebook, stiff card wrappers, folio., ( 302 x 205mm), 119pp. full-page closely written pencil manuscript in Sacheverell's hand, mostly daily entries of one or two lines, the first entry for September 10th, 1920, 'Osbert leaves Renishaw for London. (1920)', the final entry for February, 1929 notes, ' Mother comes again about 10 February for a week . . . Zita was married to Arthur James on 29 January', the diary begins at the back of the notebook, leaving the first half of the notebook with blank pages; one of the two entries in ink to the last page reads, 'I close this diary on 18 February, 1929. I finished 'The Gothick North' last week, I got my cheque for it on Saturday, 16 February. I have to see Tom Balston about it, next Wednesday - I began the diary on September 10th 1920, (August 7th 1948!) (December26th 1959), 9 August 1964!)'. Thomas Balston was a partner in Gerald Duckworth & Co., the Sitwell's publisher; A detailed insight into Sacheverell Sitwell's social life, friends, travels, and the early literary achievements of the Sitwell siblings. 'Sachie', as he was known, the youngest of the Sitwell trio, records many overseas trips, sometimes accompanied by his older brother Osbert, and later with his new wife Georgia Sitwell (nee Doble). His travels included visits to his parents at Montegufoni, and sightseeing in Florence, Venice, Rome, Naples, Paris, Berlin, and Dresden. He records the numerous cathedrals, concerts, museums, exhibitions, and galleries visited, and details the architecture he greatly admired. The entries to every page mention 'the Bright Young Things' of the roaring twenties. Sacheverell's friends, to name a few, included Zita Jungman, Olivia Wyndham, Jean Cocteau, Cecil Beaton, Harold Acton, David Tennant, Somerset Maugham, Evelyn Waugh, Gertrude Stein, Rex Whistler, Nancy Mitford, W.B. Yeats, Aldous and Julian Huxley; Life was a whirl for the young up and coming writer, enjoying daily lunches, teas, and suppers at Claridges, the Ritz, the Savoy, Cafe Royal, and the Blue Cockatoo. Sacheverell met Sergei Diaghilev for regular lunches at Kettners, and rarely missed any of his ballet performances, he attended poetry recitals with his sister Edith and Helen Rootham, sat through long rehearsals of Facade, and hosted guests for weekends at home. Sacheverell records family birthdays such as 'Edith's 40th birthday (1887-1927)', and references early literary achievements, 'November 4th, 1926, Edith's book Elegy on Dead Fashion published', and 'Proof of All Summer in a Day arrive, talk of USA.'; a second entry written in ink, (above the entry for February 21st, 1921), notes 'My illness was then (26 xii 1959)'. Sachie's quieter days were spent at Renishaw Hall enjoying local walks, shopping trips to Banbury, or relaxing with Edith and Osbert - until the next party.Provenance: The Sitwell Family Library, Weston Hall. Condition Report: the binding worn, scuffed and split to the front cover and lower spine, the pages of diary entries are bright, clean, and reasonably easy to read, a few pages with fainter pencil. Condition Report Disclaimer

SACHEVERELL SITWELL. (1897 - 1988). A MANUSCRIPT NOTEBOOK, POETRY AND DIARY ENTRIES, 1917-1920. a ruled notebook written in Sacheverell's hand, containing poetry, notes, diary entries and a few names and addresses. brown marbled boards, folio. (32 x 20.5cm), approx. 37pp. of poetry, mostly dated 1917-1918, with 72pp. of diary entries written in pencil from 1917-1920, the poems include 'Constantinople', July 26th 1915 Marlowe' - 'The Nightingale', January 1917 - 'AVENUE' 7. VI. 1917 - 'SIRENS' 12. VI. 1917 - 'Brighton Pier' - 'the Coronet Solo' - 'The Trapeze from Perspectives' 12.3.1918 - 'The Mayor of Murcia Part III & Part IV 14.4.1918 - 'The Speech' - and 'Barrell Organs'; the diary entries closely written on one or two lines, begin on May 23rd, 1917, 'Went to Renishaw', and end on September 17th, 1920, '. . . Kensington Palace then dinner with Lewis, to Edith & Helen, Seymours, Roderick, Gabriel- Siegfried'. a detailed record of Sacheverell and the Sitwell family's lives during the latter years of the Great War. The entries for 1917 note, 'August 21st (1917), Osbert to Renishaw, (A year ago today he and I came to London . . ' - 'Sept 4th, (1917) Zeppelins, dinner on guard, Osbert Lutyens' - 'September 29th (1917) the Great Air Raid'. Sacheverell and his older brother Osbert, both serving with the Grenadier Guards, continue to enjoy a hectic social life, enjoying lunches, teas, dinners, and parties with their arts and literary friends such as Ezra Pound, Cecil Beaton, Charlie Chaplin, T.S. Eliot, Augustus John, Siegfried Sassoon, Maynard Keynes, Virginia Woolf, Aldous Huxley, Arnold Bennett, Vanessa and Clive Bell, to name a few. Sacheverell is on and off duty throughout, meeting regularly with his sister Edith and her companion Helen Rootham, and attending Diaghilev's latest ballet performances. Life is being lived to the full whilst the war goes on in the background. The Sitwells busy themselves with their writings and work, 'Sept 15th (1917) first copy of 'Tides' appears' - ' April 9th (1918) mother to lunch, corrected my proofs of 'People's Palace' - ' Aug 4th (1918) Osbert on duty, Chile (Álvaro Guevara) in morning, his drawings of 'Bicyclists' for the third volume of 'Wheels' - ' Aug 7th (1918) proof read 'Wheels' vol III' - 'November 11th (1918) PEACE AT LAST' - 'November 12th (1918) Montie's Peace party 4pm'. Sacheverell notes family birthdays such as 'Osbert's 26th birthday (1892-1918)' - ' September 7th Edith's 33 birthday (1887-1920)', the close friendships between the three Sitwell siblings is apparent throughout, 'June 27th (1919), tea with 'the Coalbox' - Edith and Mitfords . . . good humoured ladies', - ' March 27th (1919) Osbert gets his passport for Monte Carlo, Edith gets it done for him', Sacheverell's later entries record 'July 29th (1919) Bloomsbury party' - ' August 10th (1919) The King, Queen, Princess Mary and Prince Albert to tea - panic,'; written in black ink to the lower pastedown is a list of eleven friend's names and addresses including T.S Eliot, Wyndham Lewis, Ethelbert White, Paul Nash, Aldous Huxley and others; with five additional notes, including an Autographed letter loosely inserted, each written in Sacheverell's hand, one written to Balliol College, Oxford, printed headed notepaper, dated 14.2.19, two written to Grenadier Guards, Albuhera Barracks, Aldershot, blue headed notepaper, one of which is an Autographed letter from Sacheverell, dated August 28. 1918, 'Dear Sir, Please send your new Catalogue of books. Include in particular, . . .the old Italian Theatre & old Italian Theatrical Prints.'.Provenance: The Sitwell Family Library, Weston Hall.  Condition Report: boards worn, top of spine split, hinges splitting to front board, leaf edges curling and marked, internally marked to pastedowns and first page, a little toned to some pages, with a few pencil entries faded, o/w. reasonably easy to read and clean.Condition Report Disclaimer

Ɵ SITWELL, Edith. (1887 - 1964). Six Works: Green Song and Other Poems, Author's Presentation copy to Sacheverell Sitwell, 1944, and five other first editions, 1936-1952. comprises: Green Song and Other Poems. Author's Presentation copy to Sacheverell Sitwell. London: Macmillan & Co. Ltd., 1944. first edition, 8vo., (220 x 145mm), publisher's green cloth, gilt lettered to spine, dustwrapper unclipped, inscribed by the author to her youngest brother in pencil on front free e/p., 'For my darling Sachie / with very best love / from / Edith', half-title, dedicated to Bryher, 35pp; Selected Poems With an Essay on her Own Poetry. Duckworth, London, 1936. first edition, 8vo., (203 x 140mm), publisher's green cloth, gilt lettered to spine, dustwrapper unclipped, printed Kemp Hall Press, Oxford, 285pp; The Song of the Cold. The Vanguard Press, Inc., New York, 1948. first US. edition, 8vo., (245 x 165mm), publisher's black decorated cloth, blue lettering to spine, half-title, 113pp; The Canticle of the Rose. Poems 1917-1949. The Vanguard Press, Inc., New York, 1949. first US. edition, 8vo., 240 x 165mm), publisher's black cloth, author's blindstamped signature to front, gilt lettered to spine with pink rose decoration, dustwrapper unclipped, 290pp; The American Genius. An Anthology of Poetry with some Prose Selected with a Preface by Edith Sitwell. John Lehmann, 1951. first edition, 8vo., (223 x 145mm), publisher's blue cloth, gilt lettering to black panel on spine, dustwrapper unclipped, design by Keith Vaughn, half-title, dedicated to Minnie Astor, 208pp; A Book of Flowers. London: Macmillan & Co. Ltd., 1952. first edition, 8vo., (223 x 150mm), publisher's mauve cloth, gilt lettered to spine, mauve top, dustwrapper unclipped, half-title, dedicated to Osbert Sitwell, 314pp; Provenance: The Library of Dame Edith SitwellCondition Report: 1. Green Song and Other Poems. Author's Presentation copy to Sacheverell Sitwell - clean bright boards, light marks to dustwrapper, foxing to pastedowns and leaf edges, o/w. a clean copy.Condition Report Disclaimer

AUTOGRAPH LETTERS TO GEORGIE AND ARTHUR DOBLE, from Sacheverell, Georgia and Reresby Sitwell, 1940-1958. a group of thirteen Autograph letters. a total of 27pp., 14 leaves, 494 lines, the personal family letters from Sacheverell, Georgia and Reresby Sitwell, written from Weston Hall, Northamptonshire, Renishaw Hall, Derbyshire, Alrae Hotel, New York, and Training Detachment, 7/B Grenadier Guards, Leawood Camp, Devon, twelve letters within original postmarked envelopes, addressed to Mrs. Arthur Doble, 2162, Sherbrooke Street West, Montreal, P.Q, Canada. comprises: RERESBY LETTERS: Reresby Sitwell to Arthur Doble, August 14, 1940, Weston Hall. 1pp, single leaf, 19 lines. Reresby, aged 13, writes to his grandfather with his news from Weston Hall during wartime, 'Dear Gong-gong', I hope you are well and alright after that nightmare journey . . .What it must be like for those poor wretches that couldn't get away in time . . . There are planes overhead the whole time, and we have heard several nights what we thought were Nazi bombers . . .' Reresby writes of a friend, Bernard, who was unfortunately called up the day before Reresby came back from Eton, 'He says his regiment were completely wiped out at Dunkirk and are therefore all new . . . Best Love Reresby . . . PS. . . write soon and tell me all your adventures'; Reresby Sitwell to Georgie Doble, November 14, 1941, Weston Hall. 2pp., single leaf, 36 lines. Rerseby writes to his grandmother thanking her for her sweet letter and cheque, which he will spend on savings certificates and Christmas presents. He has been sent back from Eton with one of his colds which he suffers from for nine or ten months of the year. Reresby informs Georgie '. . . the reason I get them (colds) so often is partly because I am growing three to four inches a year at the moment . . . ' ; Reresby Sitwell to Georgie Doble, August 27, 1942, Weston Hall. 4pp., 2 leaves, 90 lines. 'Darling Granny Do, Thank you a million times for the lovely things which I found in poor darling Gong-gong's trunk . . . ' Reresby updates Georgie on the events of a recent family holiday to Scotland, stalking Red deer in the mountains and horse riding everyday, . . . 'Mummy was furious when she saw that Daddy could ride perfectly well, when considering all the brilliant opportunities they had of riding in the past . . .the journey back was rather hectic . . . the corridors (of the train) were packed with soldiers, Daddy tripped over a prostrate colonel in the passage . . . ' ; Reresby Sitwell to Georgie Doble, January 19, 1944, Weston Hall. 2pp., single leaf, 38 lines. Reresby's letter of condolence to his grandmother after the death of her husband, Arthur Doble, 'My Darling Granny Do . . . it must have been such a dreadful blow to you, and I too shall miss him dreadfully . . .I am sure Gong-gong would loathe to be a short-sighted, crippled old man of eighty, and I cannot believe that my other grandfather is enjoying life to its full, at his age, and the state he is in now . . . Daddy rung us up while we were in London, and when I collected Mummy to go off for lunch . . . she told me the news . . . When we arrived back at Weston, poor darling Mamma got very hysterical . . .We all feel so distressed for you, as you will be so lonely without Gong-gong, and his great sense of humour and intelligence . . .Best Love, my darling from Reresby'; Reresby Sitwell to Sacheverell and Georgia Sitwell, April 3, 1946, Training Detachment, Devon. 2pp., single leaf, 49 lines, (lacks original envelope), Reresby writes to his parents from Training Detachment, 7/B Grenadier Guards, Leawood Camp, Devon, 'CAUTION: - This is going to be long . . . ', Reresby apologises for the awful writing paper, '(Battle Camp and all that you know) . . . ', enthusiastically and in great detail, including two sketches, he tells his his parents of 'recent idiotic section attacks and a Night Scheme . . .', Reresby and a friend, Robin Leigh Pemberton, were Platoon Commanders over Guardsmen for the first time, Pemberton's platoon got lost for an hour, 'the result as you can imagine was Chaos, on the whole, & to everybody's surprise I did better than the blue-eyed boy Robin! . . . Sorry about all this military stuff; but as I never tell you anything about my training other than the idiosyncrasies of sergeants, I thought it might interest you, . . . Isn't it wonderful news about Virginia? I am so glad . . . ';SACHEVERELL'S LETTERS: Sacheverell to Georgie Doble, 13 Nov, 1941, Weston Hall. 2pp., single leaf, 41 lines, Sacheverell writes to his mother-in-law of his concerns regarding the severity and frequency of Reresby's fearful colds, and the length of time his son has missed school, 'Georgia seems fairly well, she misses Francis terribly, poor thing, I do feel for her about it . . . 'I feel quite jealous of you being able to drop into that store and find Francis having luncheon there, I would give anything to see him . . . ', (Sacherverell and his wife Georgia had sent their eldest son Francis away to stay with an aunt in Canada during the war) . . 'I do wish I had lived in Victorian times. I should have liked to have been born about 1820 and died about 1912 (92!) they had no worries at all, that I can see' . . . How fascinating . . . Mrs. Temperley marrying. I saw her at Claridge's surrounded by cabinet ministers'; Sacheverell to Georgie Doble, 7 Jan, 1942, Weston Hall. 2pp., single leaf, 45 lines. Sacheverell writes of his grief and shock on receiving Georgie's telegram, announcing the death of her husband Arthur Doble, 'Dearest Georgie, Your telegram about poor Arthur has just come, Georgia left the house, only ten minutes before it arrived, to go to London by car . . . I am trying to telephone through to her at Antoine's . . .It is so difficult to know what to say to you, what can one say, except banalities. You know how fond I was of Arthur, and I know he was very fond of me . . .I will write to you again tomorrow . . . thinking such a lot of you, and always with affection, Ever and loving Sachie'; Sacheverell to Georgie Doble, 11 Jan, 1942, Weston Hall. 2pp. single leaf, 45 lines. 'My darling Georgie, Just another line to tell you how much I am thinking of you . . . Georgia feels utterly miserable . . . I wrote a little thing for the Times, which I hope is going in early this week . . .It is excruciatingly cold here, so cold that it hurts . . . Reresby has grown enormously, and is really a big boy now, taller than Georgia, he has been very upset too . . . Your loving Sachie'; Sacheverell to Georgie Doble, c. 1952, The Alrae (Hotel) New York, (Oct., 1952). 2pp., single leaf, 31 lines. undated, with a manuscript note in pencil, by another hand to the back of the original accompanying postmarked envelope, 'after leaving Montreal Oct. 1952', the letter written on the hotel's printed headed paper, 'Dearest Georgie, We got back here safely last night, and thank heavens are having a quiet day . . .The feature in Boston went fairly well, but not quite as good as in Montreal, I liked Washington more than Boston, I thin., I can never tell you, how much I loved seeing you again - . . . the heat here is terrific. We are here till next Monday - then Buffalo, N.Y. - then Chicago. A charming letter from Francis last night. Nothing! from Reresby of course! . . . ';Provenance: The Sitwell Family Library, Weston Hall.(Qty. 13)Click here for full description.

Ɵ PRESENTATION COPIES TO GEORGIA SITWELL: a group of six titles, five inscribed to Georgia Sitwell, 1902-1951. comprises: RICE, A. Hamilton, Dr. (1875 - 1956). The Rio Branco, Uraricuera and Parima, Author's Presentation copy to Georgia Sitwell, Reprinted from The Geographical Journal for February, March, and April, 1928. 8vo., (245 x 155mm), original pale blue wrappers, lettered in black, inscribed to front by the author in black ink, 'Mrs. Saccheverell Sitwell / with the compliments of / Hamilton Rice', b/w. photo. illustrated, 2 folding colour maps at end, 59pp., with a loosely inserted card, Claridges, London W1. printed address at top, n.d., written in the author's hand in black ink, 'Dear Mrs. Sitwell: Here is the report of the last journey in S.A. also a pamphlet of the school we have established in the U.S.A. . . . It was such a pleasure for us both to meet you and your husband. Very Sincerely A. Hamilton Rice', 357pp; QUENNELL, Peter. (1905 - 1993). [Editor]. Byron A Self-Portrait, Letters and Diaries 1798-1824). Author's Presentation copy. London: John Murray, 1950. 2 volumes, first edition, 8vo., (223 x 150mm), publisher's red cloth, gilt lettering to spines, dustwrappers unclipped, design by John Piper incorporating the monogram by Reynolds Stone, (vol. 1 dustwrapper present but covers in two parts), inscribed and dated by the author in pencil to Georgia Sitwell on front free e/p., 'Georgia /with Love / from Peter / February 1950', half-title, portrait frontispieces, vol. 1: 358pp., vol. 2: 803pp; OVED, Mosheh. (1885 - 1958). For the Sake of the Days. Author's Presentation to Georgia Sitwell. Faber and Faber, 1940. publisher's blue cloth, gilt lettering to spine, dustwrapper clipped, inscribed by the author in black ink to half-title, 'To Mrs Sacheverell Sitwell / who finds healing in jewels, /even as war-surrounds / Mosheh Oved. /14.10.40', 72pp; PORTER, Katherine Anne. (1890 - 1980). The Days Before. Harcourt, Brace and Company, New York, (1951). first edition as stated, publisher's green cloth, black lettering to front and spine, dustwrapper clipped, inscribed and dated by the author in blue ink to front free e/p., 'For dear Georgia / on a Charming / occasion * and with / such affection - / Katherine Anne / 21 January 1953 / New York / *? Mourie's party', half-title, 273pp; together with Henry, M. S. : Thomson, Edward William (1849-1924). Aucassin and Nicolette: An Old-French song-tale, translated by M.S. Henry. versified by Edward W. Thomson. Edinburgh: Otto Schulze & Company, 1902. Limited edition of 500 copies, 4to., (298 x 240mm), full brown calf, gilt lettering to front, 'This is of Aucassin and Nicolette for Georgia', gilt top, others untrimmed, black e/ps., half-title, printed June 1902 by Turnbull and Spears on handmade paper, 61pp; Provenance: The Sitwell Family Library, Weston Hall. 

SACHEVERELL SITWELL. (1897 - 1988). Autograph Letter to a friend, for the Shell Paper, Brazil, Weston Hall, 1964. An autograph letter from Sacheverell Sitwell to a friend, Tazil, reminiscing about their time together in Brazil, described by Sacheverella, as a 'carioca summer', written in Sacheverell's neat hand to single sides of 5 numbered leaves, 155 lines, on Weston Hall, printed headed paper, dated 17 April, 1964; 'Dear Tazil, I promised I would write something for the Shell paper, and here it is . . .', Sacheverell thanks Tazil for the kindness shown to him and his wife Georgia from the first day he came to meet them for luncheon, until the last morning at the airport when they waved goodbye to Lucio. 'Some readers of this letter may be wondering why we came to Brazil, and the answer is I have wanted to to do so for over forty years since I first began writing . . . I even wrote most of a special number about old and new buildings in Brazil for the Architectural Review in 1945, before I had ever been there, this is not as difficult as it sounds, so long as one is sufficiently interested, and I am letting you into a trade secret . . . And now that I have been to Brazil, what do I think of it . . . ', Sacheverell comments on his disappointment of hearing the popular song of the day 'Tea for Two' being relayed everywhere they went, and how noisy the Copacabana was, . . . 'I admired very much the Museum of Modern Art . . . other churches in Rio did not quite come up to expectations . . .', He admits to his friend that he is not alone in wishing not to live there, . . .'Brazilia, a Pompeii . . . of the nineteen fifties,is an astonishing experience . . . the air is wonderful, as are the sunsets and sunrises, but not yet the shops, cinemas or general amenities.'; Sacheverell writes of their visit to Salvador, flying onto Dakar and how he wishes even more than ever that he had seen the Amazon, humming birds and parrots of Brazil, however, '. . . Time and money are always in short supply'. He ends the letter with warm thanks and greetings to all who were kind to them, particularly in Shell-Brazil during their too short stay in Rio. Sacheverell's youngest son Francis Sitwell (1935 - 2004), had spent ten years working for Shell, during which time he represented the company in East Africa.Provenance: The Sitwell Family Library, Weston Hall. Condition Report: the letter folded in half, light creasing and a few page corners turned over, a small hole to lower l.h. of page 4, and a clean edge tear, approx. 4cm to lower l.h edge of page 5, a few light marks o/w. clean; the text neatly written and esy to read.Condition Report Disclaimer

Ɵ SITWELL, Edith. (1887 - 1964). Two Works: Author's Presentation copies to Sacherverell and Georgia Sitwell. 1949-1950. comprises: The Canticle of the Rose, Poems: 1917-1949. Author's Presentation to Georgia Sitwell. New York: The Vanguard Press, Inc., (1949). first US. edition, 8vo., (240 x 165mm), publisher's black cloth, Edith Sitwell's signature blindstamp to front, gilt lettering and pink rose to spine, original pink dustwrapper, unclipped, priced $3.75, inscribed by the author to her sister-in-law in pencil on front free e/p., 'For / My darling Georgia / because the last section / contains four extra poems / with my best love / from Edith', half- title, 290pp; A Poet's Notebook, Author's Presentation to Sacheverell Sitwell. An Atlantic Monthly Press Book, Little, Brown and Company, Boston, 1950. first US. edition, 8vo., (220 x 150mm), publisher's mustard, blue decorative cloth, dustwrapper unclipped, priced $4.00, design by Edward Karr, inscribed by the author to her youngest brother in blue ink on front free e/p. 'For / my darling Sachie / with very best love / from / Edith', half title, 276pp; Provenance: The Sitwell Family Library, Weston Hall.  Condition Report: 1. Canticle of the Rose - clean bright boards, corners and spine very slightly rubbed, dustwrapper front bright, spine faded, and a few marks to lower cover, edges with a few marks, o/w. a clean copy.2. A Poet's Notebook - boards lightly marked, corners a little scuffed, dustwrapper with nicks and creases, worn mostly to corners (with some loss), e/ps. marked and a little foxed, o/w. clean internally.Condition Report Disclaimer

AFTER THOMAS PHILLIPSPORTRAIT OF GENERAL LORD HUTCHINSON OF ALEXANDRIA HOLDING A MAP OF EGYPTOil on canvasLater inscribed 'General Lord Hutchinson by Phillips' (lower left)127 x 102cm (50 x 40 in.) Literature:F. Sitwell, Weston Hall, Towchester, Northamptonshire: A Brief Guide, Northampton, 1993, p. 4, in the Dining Room.Catalogue Note:This oil on canvas portrait of John Hely-Hutchinson, 2nd earl of Donoughmore (1757-1832), is a close copy of a painting by Thomas Phillips (1770-1845) in the Royal Collection (RCIN 402776). The Royal canvas has near-identical dimensions to the portrait offered here - 50 x 40 ins. (127 x 102 cm.). The Royal portrait was painted in 1811 for George IV for 80 guineas in recognition of George's friendship with the sitter, who, as of 1803, had advised him on the governance of Ireland, and on the pacification of Queen Caroline. Lord Hutchinson was a well-known confident of George, when Prince of Wales, and became a regular visitor to Brighton Pavilion. The painting is recorded from the early-mid 19th century as having been at Carlton House, Windsor Castle and Hampton Court. Lord Hutchinson, army officer and politician, had an illustrious army career fighting against Napoleon's French revolutionary armies. In 1801, he commanded the first division of Sir Ralph Abercromby's army, which landed in Egypt on 10 March, and defeated the French at the battle of Alexandria. In December the same year, he was created Baron Hutchinson of Alexandria and of Knocklofty, co. Tipperary, with a pension of £2000 a year. He also received the new Turkish order of the Crescent in brilliants in March 1802. In 1825, he succeeded his brother as 2nd earl of Donoughmore and 2nd Viscount Hutchinson. He died, unmarried, at Knocklofty, co. Tipperary, in 1832, and was succeeded as earl and viscount by his nephew John Hely-Hutchinson (1787-1851). Colonel the Hon. Henry Hely-Hutchinson (1790-1874), the brother of the latter, and a professional solider who had served in the Peninsula and at Waterloo, married Harriet Wrightson (1788-1864) in 1825. Harriet Wrightson had inherited Weston Hall in 1809 through her aunt Mary Heber. Their fourth daughter, Louisa Lucy, married Sir Reresby Sitwell, Bt., in 1857, and hence the link with the Sitwell family.Condition Report: The canvas is not relined. There is some very fine craquelure throughout and some light surface dirt. There is some flaking and paint loss to the lower edge and a few further minor losses to the lower left quadrant. Inspection under UV reveals scattered retouching to the lower edge and a green masking varnish, which is uneven and may conceal further restoration. Otherwise, in generally good condition. Some minor scuffs and abrasions to the frame.Condition Report Disclaimer

Ɵ DAME EDITH SITWELL: Books By and About. 17 volumes, 8vo., mostly first editions, 1930-1994. comprises: SITWELL, Edith. (1887 - 1964). Collected Poems. Duckworth, London, 1930. first edition, Duckworth & Co, London, United Kingdom, 1930. first edition, publisher's black cloth, gilt lettering to spine, ink signature to front free e/p., 'Leucka Warner, June 1930', errata tipped in, 278pp. English Women The British People in Pictures, William Collins of London, 1942. first edition, publisher's lavender paper boards, illustrated and lettered in white, dustwrapper unclipped, 8 colour plates, 27 b/w. illustrations, 48pp; Green Song & Other Poems. London: Macmillan & Co., 1944. first edition, emerald green cloth, gilt lettering to spine, dustwrapper unclipped, 35pp; The Canticle of the Rose Poems: 1917-1949. The Vanguard Press, Inc., New York, 1949. first edition, 8vo., publisher's black cloth, pink rose and gilt lettering to spine, pink dustwrapper unclipped, 289pp; The Canticle of the Rose Selected Poems 1920-1947. London: Macmillan & Co. Ltd., 1950. publisher's blue cloth, gilt lettering to spine, dustwrapper unclipped, 274pp; A Book of the Winter, The Vanguard Press, Inc., New York, 1951. black embossed cloth boards, grey cloth spine lettered in white, dustwrapper unclipped, blue foredge, 114pp; Collected Poems. London: Macmillan & Co. Ltd., 1957. first edition, publisher's blue cloth, red gilt lettered label to spine, dustwrapper unclipped, 444pp; Swinburne A Selection. Weidenfeld and Nicholson, London, 1960. first edition, 8vo., olive cloth binding with red and gilt on spine, dustwrapper unclipped, light blue e/ps., 286pp; Fanfare For Elizabeth. Peter Owen, London, 1989. publisher's purple cloth, silver lettering to spine, dustwrapper unclipped, 202pp; Collected Poems. Sinclair-Stevenson, Ltd., London, 1993. first edition, black cloth, dustwrapper unclipped, 444pp; VILLA, Jose Garcia, [editor]. A Celebration for Edith Sitwell. New Directions, New Directions, (New York), 1948. first edition, blue cloth, dustwrapper unclipped, 144pp. A Celebration for Edith Sitwell on the occasion of her visit to the United States: ELBOURNE, Geoffrey. Edith Sitwell A Biography. Sheldon Press, London, 1981. first edition, 8vo., publisher's cloth, gilt lettering to spine, dustwrapper unclipped, 322pp; GREENE, Richard. [Editor]. Selected Letters of Edith Sitwell. Inscribed by Richard Greene. Virago Press, London, 1997. first edition, 8vo., publisher's cloth, gilt lettering to spine, dustwrapper unclipped, 484pp; FIFOOT, Richard. A Bibliography of Edith, Osbert and Sacheverell Sitwell. Rupert Hart-Davis, London, 1963. first edition, 8vo., publisher's cloth, gilt lettering to spine, dustwrapper unclipped, 394pp; SALTER, Elizabeth. Edith Sitwell. Bloomsbury Books, London, 1988. 4to., publisher's cloth, gilt lettering to spine, dustwrapper unclipped, with portrait illustration after P. Wydham Lewis, 1.3pp; MORTON, Gerald W. : HELGESON, Karen P. [Editors]. The Early Unpublished Poems of Edith Sitwell. Peter Lang America University Studies, 1994. first edition, 8vo., photo. illustrated boards, pink spine lettered in white and black, American University Studies Series 4: English Language and Literature, Vol. 175, erratum loosely inserted, 73pp; with a duplicate copy; Provenance: The Sitwell Family Library, Weston Hall. 

Ɵ CRIME NOVELS: UNDERWOOD, Michael. Adam's Case. Author's Presentation copy to Dame Edith Sitwell, 1961 and six others, 1946-1951. comprises: UNDERWOOD, Michael. [John Michael Evelyn]. (1916 - 1992). Adam's Case. Author's Presentation copy to Dame Edith Sitwell, London: Hammond, Hammond & Company, 1961. first edition, 8vo., (190 x 130mm), publisher's burgundy cloth, bright yellow lettering to spine, dustwrapper clipped, design by Sax, inscribed by the author in blue ink to Edith Sitwell on front free e/p., 'to Dame Edith Sitwell, / With best wishes / from 'Michael Underwood' / September 1961', half-title, 221pp., with a 2pp. London Magazine article by Roy Fuller loosely inserted, reviewing three recently published works by R.A. Foakes, Francis Berry and A. Alvarez, inscribed to Edith Sitwell in blue ink to top, 'Dear Edith - as promised, for your / entertainment love John', (possibly John Lehmann); CHRISTIE, Agatha. (1890-1976). A Murder is Announced. London: The Crime Club, Collins, (1950). first edition, 8vo., ( 190 x 130mm). original publisher's red cloth, black lettering to spine, dustwrapper unclipped. with three typescript, empty envelopes, addressed to, Lincoln Kirstein Esq., New York City; Daniel Maloney Esq., New York City; and Mrs. Ramsey Hunt, 20 Chesham Place, London; They Came to Baghdad. The Crime Club, Collins, (1951). first edition, 8vo., (192 x 130mm), publisher's red cloth, black lettering to spine, dustwrapper unclipped, 256pp; WAUGH, Evelyn. (1903 - 1966). Officer's and Gentlemen. London: Chapman Hall, 1946. first edition, 8vo., (190 x 165mm), publisher's blue cloth, gilt lettering to spine, dustwrapper unclipped, 335pp. The final volume in the The Sword of Honour Trilogy; LUSTGARTEN, Edgar. (1907 - 1978). A Case to Answer. London: Eyre & Spottiswoode, 1947. first edition, 8vo., (188 x 134mm), publisher;s blue cloth, white lettering to spine, dustwrapper unclipped, 203pp. The author's first book; ; Verdict in Dispute. Alan Wingate, London and New York, 1949. first edition, 8vo., (190 x 130mm), publisher's red cloth, gilt lettering to spine, dustwrapper unclipped, design Bruce Roberts, half-title, 253pp. The author's sixth book. Defender's Triumph. Wingate, London and New York, 1951. first edition, 8vo., (194 x 135mm), publisher's red cloth, gilt lettering to spine, dustwrapper unclipped, half-title, 239pp. The author's seventh book. Provenance: The Library of Dame Edith Sitwell(Qty. 7).   

Ɵ SITWELL, Edith. (1887 - 1964). Four Works: Two Author's Presentations, signed, to Francis Sitwell, and Sacheverell Sitwell, with others, 1921-1962. comprises: The Queens and the Hive. Author's Presentation copy to Francis Sitwell. London: Macmillan & Co. Ltd., 1962. first edition, 8vo., (225 x 150mm), publisher's burgundy cloth, gilt lettering to spine, dustwrapper unclipped, design Jack Matthew, inscribed by Edith Sitwell to her nephew in blue ink on front free e/p., 'For / darling Francis / with best love / from Edith', dedicated to George Cukor, 16 illustrated portraits (including frontispiece), 542pp., NPG. tissue wrapping with label. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. d99f / 4.78l. Francis Trajan Sacheverell Sitwell, (1935-2004), was the youngest son of Edith's brother Sacheverell. Francis, as Dame Edith Sitwell's literary executor spent much of his adult life promoting and defending her work and that of her siblings. The Canticle of the Rose. Selected Poems 1920-1947. Author's Presentation copy to Sacheverell Sitwell. London: Macmillan & Co. Ltd., 1949. second edition, 8vo., (223 x 150mm), publisher's blue cloth, gilt lettering to spine, dustwrapper unclipped, inscribed by the author in pencil to her youngest brother, 'For / my darling Sachie / with best love / from Edith', half-title, 273pp; Bath. London: Faber & Faber, 1932. publisher's red cloth, gilt lettered decorated spine, gilt top, dustwrapper and half-title design Rex Whistler, foredge and lower edge untrimmed, 16 b/w. plates, 288pp., further within brown paper wrapper, NPG. tissue wrapping with label. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. c69 / 3.25; together with [THE SITWELLS & OTHERS], [editor, Edith Sitwell]. Wheels: 1921: Sixth Cycle. London: C.W. Daniel Ltd., 1921. white cloth-backed boards, design William Roberts, printed paper label to spine, new e/ps., manuscript date '6 1929', in pencil to title page, further ink manuscript notes and corrections to text of 'Fantasia for Mouth-Organ', pp. 50 and pp.52, NPG. tissue wrapping with label. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. b42 / 2.28f. Provenance: The Sitwell Family Library, Weston Hall. Condition Report: 1. The Queens and the Hive - clean bright cloth, corners a little scuffed, dustwrapper worn and marked, internally clean.2. The Canticle of the Rose - clean bright cloth, dustwrapper a little marked, some foxing to lower wrapper, e/ps. and foredge also foxed, o/w. clean internally save a small brown mark to p.123.3. Bath - clean bright cloth, corners very slightly scuffed, gilt top faded, dustwrapper worn at edges and marked, foxing to untrimmed edges and e/ps., internally clean.4. Wheels: 1921 - boards marked and worn, corners scuffed, lower front corner chipped (with loss), spine marked and bumped head/tail, new e/ps., some toning internally, o/w. clean.Condition Report Disclaimer

Ɵ POETRY & OTHERS: Various Authors, 12 vols. 1918 - 1961. comprises: JONES, E.B.C. (Emily Beatrix Coursolles 'Topsy' Jones, 1893 - 1966). [editor]. Songs for Sale An Anthology of Recent Poems. Oxford: Blackwell, 1918. first edition, 8vo., (200 x 150mm), decorative black and white card wrappers with printed paper label to front, (lacks label to spine), edges untrimmed, half-title, '1918' written in pencil manuscript beneath half-title, possibly in Edith Sitwell's hand, contributors include Aldous Huxley, Osbert Sitwell, E. Wyndham Tennant, the editor and others, Fourth of the Initiates Series of Poetry by Proved Hands, printed in Oxford at the Vincent Works, and sold in America by Longmans, Green & Co., New York, 60pp., within a modern clear protective folder; PROUST, Marcel. (1871 - 1922). Within a Budding Grove, London: Chatto & Windus, 1924. second impression, 8vo., (195 x 138mm), publisher's blue cloth, gilt lettered to spine, blue top, others untrimmed, translated by C.K. Montcrieff, small bookseller's label to lower pastedown, The Holliday Bookshop, New York, 396pp; ELIOT. T.S. Sweeney Agonistes. Fragments of an Aristophanic Melodrama, Faber and Faber, 1932. first edition, 8vo., (195 x 130mm), pale blue cloth, lettered in red to spine, dustwrapper unclipped, 31pp; WEBB, Margaret. Early English Recipes Selected from the Harleian Ms. 279 of about 1430 A.D., Cambridge: The University Press, 1937. first edition, 8vo., (222 x 130mm), illustrated cloth-backed boards, gilt lettering to spine, half-title, wood-engravings by Margaret Webb, Introduction by Sir Stephen Gaselee, recipes include A Goos in Hogepotte, Oystrys in Gravy Bastard, and Puddyng of Purpaysse, 37pp; De La MARE, Walter. (1873 - 1956). The Burning Glass and Other Poems by Walter de la Mare. Faber & Faber, London, 1945. first edition, 8vo., (202 x 145mm), publisher's green cloth, gilt lettered to spine, dustwrapper unclipped, half-, 106pp; LEWIS, C. Day. Word Over All. Jonathan Cape, London, 1945. second impression, 8vo., (205 x 147mm), beige cloth, lettered in red to spine, red top, others untrimmed, dustwrapper unclipped, the inside of the dustwrapper showing part of a different book's red and black design for front cover, front flap and spine, 'Time to Kill' by Alex Brown, dedicated to Rosamond Lehmann, 52pp; LEE, Laurie. (1914 - 1997). The Bloom of Candles. Verse From a Poet's Year. John Lehmann, London, 1947. first edition, 8vo., (202 x 143mm), publisher's yellow paper boards, lettered in black to front, dustwrapper unclipped, half-title, 12 poems, printed at the Caxton Press, Christchurch, New Zealand, 20pp; PHELPS, G.H. [editor]. Living Writers. Being Critical Studies Broadcast in the B.B.C. Third Programme . . . Sylvan Press, 1947. 8vo., (190 x 130mm), publisher's black cloth, gilt lettered to spine, dustwrapper unclipped, half-title, includes Sean O'Casey by Denis Johnstone; E. M. Forster by Rose Macaulay; Walter De La Mare by Dylan Thomas; Aldous Huxley by Peter Quennell; T. F. Powys by Louis Marlow, etc. bound by Novello & Co. Ltd. London, 157pp., with a loosely inserted manuscript Hatchards Bookseller's sale receipt to Miss Edith Sitwell, Renishaw Hall, Nr. Sheffield, 25.2.1948, recording the authors purchase of this book, and postage of one Express letter; H.D. (Hilda Doolittle, 1886 - 1961). Selected Poems. Grove Press Inc. New York, (1957). 8vo., (210 x 142mm), publisher's beige cloth, lettered in black to front and spine, half-title,128pp. Hilda Doolittle was an American poet, novelist, memoirist. She published under the pen name H.D., and was one of the leading figures in the bohemian culture of London associated with the early 20th-century avant-garde Imagist group of poets. PLOMER, William. (1903 - 1973). Collected Poems, Jonathan Cape, London, 1960. first edition, yellow cloth-backed blue boards, lettered in black to spine, author's blindstamped signature in silver to front, two half titles, 225pp; with a loosely inserted typescript Dillon's University Bookshop Ltd. sale receipt to Edith Sitwell, Renishaw Hall, Nr. Sheffield, August 15th, 1960, recording her purchase of this book, Campbell: Poems, and Jones: Life and Opinion of Hulme: with HAMILTON, Patrick. The Slaves of Solitude, Constable, London, 1947. first edition, 8vo., dustwrapper unclipped, 242pp.; MILLER, Henry. The Cosmological Eye. Editions Poetry London, Nicholson & Watson, London, 1945. first edition, 8vo., dustwrapper unclipped, 351pp.Provenance: The Library of Dame Edith Sitwell(Qty. 12). 

Ɵ SITWELL, Sacheverell. (1897 - 1988). Seven Works: Author's Presentation copies to Francis Sitwell, 1948 - 1956. comprises: Journey to the Ends of Time Volume 1 Lost in the Dark Wood. Random House, New York, (1959). first US. edition, 8vo., (220 x 150mm), publisher's black cloth, gilt lettering to spine, dustwrapper unclipped, inscribed and dated by the author in black ink to his youngest son on front free e/p., 'To / darling Francis / with best love / from / S.S. / 1 November 1959', 475pp, NPG. tissue wrapping with label. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. f73 / 6.51o; Denmark, London: B.T. Batsford, Ltd., 1956. first edition, 8vo., (220 x 146mm), publisher's red cloth, gilt lettering to spine, top edge pink, dustwrapper unclipped, inscribed and dated by the author in black ink to front free e/p., 'To / Francis / with best love / from / daddy / Weston 22. V. 1956', half-title, 38 plates (including frontispiece), 168pp. NPG. tissue wrapping with label. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. f36 / 6.24. Batsford Colour Books series, B.T. Batsford, London, New York, Toronto, Sydney, 1948-1949. 5 volumes, first editions, 8vo., (240 x 190mm), publisher's cloth, pictorial dustwrappers unclipped, inscribed and dated to front free e/ps. by the author to his son Francis Sitwell, 16pp., NPG. tissue wrappings with label. comprises: Garden Flowers. 1948, from plates by Jane Louden, Introduction by Robert Gawthorne-Hardy, inscribed and dated, 'To / darling Francis / from / Sacheverell Sitwell / Weston 17 September 1949'. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. f65 / 6.51g; Tropical Birds. 1948, from plates by John Gould, Introduction by Sacheverell Sitwell, inscribed and dated, 'To Francis / for his birthday / with love from Sacheverell Sitwell / Weston 17 September 1949'; National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. f66 / 6.51h; The Romantic Ballet. 1948, from contemporary prints, Introduction and Notes on the Plates by Sacheverell Sitwell, inscribed and dated, 'To/ darling Francis / from S.S. / Weston 17 September 1949'. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. f68 / 6.51i; Gallery of Fashion. 1948, from plates by Heideloff and Ackermann, Introduction by Sacheverell Sitwell, Notes on the plates by Dorothy Langley Moore, inscribed and dated, 'For darling Francis / with love / from / Daddy / Weston 5 November 1949'. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. f67 / 6.51j; Audubon's America Birds, 1949. from plates by J.J. Audubon, Introduction and Notes on the plates by Sacheverell Sitwell, inscribed and dated, 'To / Francis for his birthday / with love from / Sacheverell Sitwell / Weston 17 September 1949'. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. f69 / 6.51k. Provenance: The Sitwell Family Library, Weston Hall.

Ɵ AUTHOR'S PRESENTATION COPIES TO SACHEVERELL AND GEORGIA SITWELL: 4 vols., first editions, 1920-1937. comprises: MOORE, Marianne. (1887 - 1972). Collected Poems. Author's Presentation copy to Georgia and Sacheverell Sitwell. The Macmillan Company, New York, 1951. first US. edition, 8vo., (203 x 145mm), publisher's navy-blue cloth, gilt lettered to spine, dustwrapper unclipped, priced $3.00, inscribed by the author in green ink to front free e/p., 'For my Georgia and Sacheverell Sitwell / who are giving in receiving. / Marianne Moore / October 20. 1952', half-title, integral title page, without errata slip at page 9, printed copyright to verso of title-page, with National Book Awards 1952 gold banner, lettered in blue, 180pp. printed in USA and bound in blue boards, following the withdrawn American issue with orange boards printed and bound by Faber & Faber for both the English and American markets. The American issue was printed with an integral title-page for Macmillan, and exported to the United States. Moore's Collected Poems swept the major literary awards for poetry, winning the Bollingen Prize, the National Book Award, and the Pulitzer Prize; BYRON, Robert. (1905 - 1941). The Road to Oxiana. Author's Presentation copy to Sacheverell Sitwell, London: Macmillan & Co. Ltd., 1937. first edition, 8vo., (203 x 145mm), publisher's royal blue cloth, gilt lettered to spine, inscribed by the author in black ink to front free e/p., 'To / Sachie / who will understand what there is / to understand / from / Robert', half-title, 16 plates, (including frontispiece), 5 full-page maps, 341pp, 2pp. adverts at end. Robert Byron was a British travel writer, art critic and historian. An account of the author's travels around Persia and Afghanistan, considered on of the most influential travel books of the 1930s. The word 'Oxiana' in the title refers to the ancient name for the region along Afghanistan's northern border; ACTON, Harold. (1904 - 1994). Humdrum. Author's Presentation copy to Georgia Sitwell. Chatto & Windus, 1928. first edition, 8vo., (194 x 135mm), publisher's orange cloth, gilt lettered to spine, lower edge untrimmed, inscribed by the author in black ink to front free e/p., 'To dear Georgia, / hoping to while away / a fast and fleeting / hour or so of her / valuable time / with love / from / Harold. / October / 1928', half-title, 312pp, 4pp. publishers adverts at end. The author's first novel, which he was forced into writing, as his publishers were not prepared to publish his verse unless he gave them a novel as well. The title of the book, amusingly, has a wider significance than at first thought. 1500 copies of the book were printed. Sir Harold Mario Mitchell Acton, was a British writer, scholar, aesthete, close friend of The Sitwells, and a prominent member of the Bright Young Things. Harold Acton is reputed to have inspired, at least in part, the character of Anthony Blanche in Waugh's novel 'Brideshead Revisited' (1945); BAXTER, Arthur Beverley. (1891 - 1964). The Parts Men Play. Author's Presentation copy to 'Babs' Doble, (Georgia Sitwell), London and Edinburgh, W. & R. Chambers, Ltd., (1920). first edition, 8vo., (192 x 140mm), publisher's brown cloth, lettered in black to spine, inscribed by the author in black ink to front free e/p., 'To 'Babs' Doble / This is not a good / book but it could / have been worse. / The heroine is not / unlike you, except / that she had red hair / and a heart. / On second thoughts / it is a very good book. / And perhaps in your / next re-incarnation you / may have . . . . red hair! / from Bax / Jan 14/24', foreward by Lord Beaverbrook, 444pp., 2pp. adverts. at end. Sir Arthur Beverley Baxter was a journalist and politician. 'Bax', as he was known to his friends, met fellow Canadian Max Aitken, 1st Baron Beaverbrook, proprietor of the Daily Express in 1919, and joined the newspaper as a lead writer and reporter, becoming managing-editor in 1922. William Walton dedicated a piano arrangement of a piece from Façade (1926) to Baxter's wife, Edith. During the General Strike 1926, Osbert Sitwell and Siegfried Sassoon waited for, and met Baxter outside his Chelsea flat at 2 am, and discussed moderation of the 'bellicose' tone on the strike taken by Express, with the hope of influencing Beaverbrook and seeing the strike resolved. 'Babs' (Georgia) Doble, (1905-1980) was the Canadian born daughter of wealthy banker, Arthur Doble, she married Sacheverell Sitwell in Paris, 12 October, 1925.Provenance: The Sitwell Family Library, Weston Hall.       (QTY. 4)Condition Report: 1. MOORE, Marianne. Collected Poems. Author's Presentation copy to Georgia and Sacheverell Sitwell - the National Book Awards 1952 gold banner, lettered in blue, present but torn, and loosely inserted within the book. Condition Report Disclaimer

Ɵ FURNITURE: 4 vols., 1927-1973. comprises: MACQUOID, Percy (1852 - 1925). EDWARDS, Ralph. (1894 - 1977). The Dictionary of English Furniture, Vol. III, (M-Z), London: Published at the Offices of Country Life and Charles Scribner's Sons, New York, 1927. first edition, folio., (410 x 295mm), publisher's green gilt cloth, gilt lettering to spine, gilt top, dustwrapper unclipped, green patterned e/ps., half-title, 16 colour plates, numerous in-text b/w. photo. illustrations, 340pp; BRACKETT, Oliver. English Furniture Illustrated. A Pictorial Review of English Furniture from Chaucer to Queen Victoria, Ernest Benn Limited, London, 1950. revised edition, edited by H. Clifford Smith, 4to., (310 x 255mm), publisher's cloth gilt lettering to spine, dustwrapper unclipped, 240 full-page plates, 300pp; HAYWARD, Helena. [editor]. World Furniture. An Illustrated History. Hamlyn, London, New York, Sydney, Toronto, 1975. seventh impression, folio., (345 x 260mm), publisher's green cloth, gilt lettering to spine, dustwrapper unclipped, photo. illustrated e/ps., b/w. and colour illustrations of early Egyptian, Greek and Roman furniture through the Gothic, Renaissance and Baroque periods to the nineteenth and twentieth centuries, 320pp; WATSON, F.J.B. Louis XVI Furniture. London: Academy Editions, St. Martin's Press, New York, 1973. square 8vo., (190 x 165mm), publisher's black cloth, white lettering to spine, dustwrapper clipped, 162pp. text, plus 242 b/w. plates and drawings. Provenance: The Art Library of Sir Sacheverell Sitwell, Weston Hall. 

Ɵ  SYLVANUS MORGAN (1620-1693)THE GENEOLOGIE OF WILLIAM BARNARDISTON, DESCENDED OUT OF SUFFOLKE AND DRAWNE DOWNE & CONTINUED TO THIS PRESENT YEARE ANNO 1647 An armorial roll showing the arms of Barnardiston below five generations of arms and names. On vellum.126cm x 36cm  Provenance: Created for Arthur Barnardiston's father at Brightwell Hall Removed to Weston Hall and thence by descent. Catalogue Note: Sylvanus Morgan (1620-1693), arms painter and author, was born in London in March 1620. His first printed work, in 1648, was a poem entitled London, King Charles his Augusta, or, City Royal of the Founders. Morgan's best-known work, The Sphere of Gentry, Deduced from the Principles of Nature: an Historical and Genealogical Work of Arms and Blazon, in Four Books, was published in 1661-3. Since it was written and partly printed during the Commonwealth, hurried revisions were made to meet the new circumstances of the Restoration. Morgan was a leading member of the Painter-Stainers' Company and was involved in attempts to settle disputes between the company and the College of Arms. He became master in 1676. The writer on heraldry John Gibbon, a friend, described Morgan as 'a witty man, full of fancy, very agreeable company, [who] lived credibly'. He was, he wrote, 'the prince of armes-painters' [DNB] Condition Report: There are two sizeable holes which have been patched, one obliterating two named circles and the other across two circles and arms. Some staining.Condition Report Disclaimer

A SET OF EIGHT GEORGE III MAHOGANY DINING CHAIRSCIRCA 1810, IN THE MANNER OF THOMAS CHIPPENDALEEach with vertical splats with central bullseye, the supports united by x-stretchers Literature:F. Bamford, 'Weston Hall, Northamptonshire - II: The Home of Sir Sacheverell and Lady Sitwell', Country Life, 29 January 1976, p. 235, fig. 4.Catalogue Note:Part of this set of mahogany chairs was photographed in 1976 by Country Life at Weston Hall, in the Dining Room, formerly the Great Parlour (F. Bamford, 'Weston Hall, Northamptonshire - II: The Home of Sir Sacheverell and Lady Sitwell', Country Life, 29 January 1976, p. 235, fig. 4). The chair backs of these chairs are closely related to those on a set of twelve satinwood side chairs from Harewood House, Yorkshire, 1790s, attributed to Thomas Chippendale Junior (J. Goodison, The Life and Work of Thomas Chippendale Junior, London and New York, 2017, p. 309, plate 101). Another mahogany set with tapering baluster legs formerly at Normanton Hall, Rutland, comprising two armchairs and eighteen single chairs was described by Christopher Gilbert as possibly by Chippendale Senior or Junior, c. 1775-80 (C. Gilbert, The Life and Work of Thomas Chippendale, vol. II, London, 1978, plate 171; chairs from this set now in a private collection have more recently been re-attributed to Chippendale Junior (Goodison, ibid., plates 102-4).The design of these chairs may have been inspired by designs in Thomas Sheraton's The Cabinet Maker and Upholsterer's Drawing Book, 1st Edition, 1793 - see part III, plate XXXIII for a design for a parlour chair with upholstered circular seat (ed. E. White, Pictorial Dictionary of British 18th Century Furniture Design: The Printed Sources, Woodbridge, reprinted 2000, p. 93). This influential publication featured a number of designs for pierced splat chair backs, which presumably could be modified at will by the furniture-maker (ibid., p. 94, plate XXXVI, p. 95, plate XXVIII). Condition Report: There are some marks, scratches, chips, splits, abrasions consistent with age and use, some to the extremities and edges including the legs and feet.Some sections of repairs and losses to include a repaired crack to one crest rail; some traces of glue, some later blocks to the underside of the seat rails; some later seat rails, various dowelled and other repairs to the turned x stretchers; some repairs where the legs meet the seat rail; one chair lacking a section of wood to the crest rail.There is evidence of old worm including some visible to the seat rails.The velvet upholstery is aged, worn and faded with some moth spots, the seats sagging. Some of the chairs have cloth nailed to the underside of the seats. The back legs in the area of the seat rails have marks suggesting that this area was, at some stage, upholstered with brass studs.Please note we have not inspected the frame beneath the upholstery and can't comment on the condition and originality of this area.Please refer to the additional images for a visual reference of condition.  Condition Report Disclaimer

A COMPOSITE BLUE AND WHITE STONE CHINA AND PEARLWARE PART DINNER SERVICE PRINTED WITH THE 'WATER-LILY' PATTERNWEDGWOOD, VARIOUS DATES 19TH CENTURYComprising: an oval soup tureen, cover and stand; a pair of shaped rectangular soup tureens, covers and stands; a pair of shaped rectangular vegetable tureens; a shaped rectangular meat dish with gravy well; three various shaped rectangular serving dished in various sizes; an oval vegetable tureen and stand; three oval serving dishes in various sizes; an oval dish and divider; three various vegetable tureens and covers; four assorted covers for vegetable tureens without base; four various covers for sauce tureens; a pair of sauce tureens, ladles, covers and stands; fourteen custard cups and thirteen covers; eight small assorted serving dishes or sauce tureen stands; twenty-seven various soup plates; twenty-two dinner plates; four breakfast plates; and a large punch bowl, 55.5cm diameter; assorted marksProvenance:By family repute in the collection of Sir Joseph Banks (1748-1820)Gifted to Mary Heber and thence by descent at Weston HallLiterature:F. Bamford, 'Weston Hall, Northamptonshire - II: The Home of Sir Sacheverell and Lady Sitwell', Country Life, 29 January 1976, p. 235.F. Sitwell, Weston Hall, Towchester, Northamptonshire: A Brief Guide, Northampton, 1993, p. 7.Catalogue Note:The Water Lily (or Nelumbium Nucifera) pattern from the 'Darwin Service' was designed in 1806, and the 'Brown Water Lily' earthenware service was made during a three year period from 1808-1811 by Wedgwood. It was probably the first time that the Wedgwood factories had employed the technique of under glaze printing and used specific botanical images derived from prints in the Botanist's Repository and the Botanical Magazine (1803-1806). The original brown print pattern was made for the naturalist Charles Darwin's parents, Robert and Susannah Darwin of Shrewsbury. This service, which Susannah purchased from her brother, Josiah Wedgwood II (1769-1843), was a wedding gift to Charles (1809-82), and his wife (and cousin), Emma (née Wedgwood). A large part of this dinner service is at Darwin's former home, Down House, Kent; a single dinner plate is in the Fitzwilliam Museum, Cambridge (C.3-1988). The blue printed design, as found on the present dinner service, was conceived in 1806, introduced in 1811 and manufactured in quantity between 1811 and 1845.It is perhaps due to the friendship that existed between , Mary Heber (d. 1809), at Weston Hall, and the eminent naturalist and botanist Sir Joseph Banks (1743-1830), and his wife, that the Water Lily dinner service was acquired and kept at Weston. Sir Joseph sailed with Captain Cook on the Endeavour in 1768 and visited Tahiti, Australia, New Guinea and the Malay States. The specimens collected by Banks and the Swedish botanist, Daniel Charles Solander, were studied on the Endeavour by the botanical illustrator Sydney Parkinson. When the expedition returned to London in 1771, Banks employed five artists to create watercolours of all of Parkinson's drawings, and 18 engravers to create 743 copperplate line engravings from the completed watercolours at a considerable cost. It is said that the design for the water lilies on the service was taken from one growing in a pond in Lord Greville's garden in Paddington- upon seeing the flower Banks is said to have proclaimed that he 'had never seen a better water lily, even in the wild'.Banks, President of the Royal Society, who was friendly with Wedgwood, made regular visits to Weston Hall; in the expectation of one such visit, Mary noted that she must buy some Barbados ginger, 'to be had in powder at Apothecaries' Hall at 2s 4d per pound. Sir J. Banks takes a quarter of an ounce every morning at Breakfast' (F. Bamford, 'Weston Hall, Northamptonshire - II: The Home of Sir Sacheverell and Lady Sitwell', Country Life, 29 January 1976, p. 235). It is thus possible that the present lot was gifted to Mary Heber prior to her death in 1809 and later added to or some items bought as replacements.Condition Report: An oval soup tureen, cover and stand: the tureen is crackedA pair of shaped rectangular soup tureens, covers and stands: both stands are cracked and one tureen is cracked and gluedA pair of shaped rectangular vegetable tureens: One cracked, both missing coversA shaped rectangular meat dish with gravy well: one of the feet is chipped offAn oval vegetable tureen and stand: one handle has been often gluedThree oval serving dishes in various sizes: The smallest with a rim chipAn oval dish and divider: the vegetable divider is heavily stained and the dish is cracked and rivettedThree various vegetable tureens and covers: One tureen is cracked and rivetted and one is cracked and stainedFour assorted covers for vegetable tureens without base: One crackedFour various covers for sauce tureens: one crackedA pair of sauce tureens, ladles, covers and stands: One tureen is stained, one ladle is restoredFourteen custard cups and thirteen covers: several are stained, two have had the handles broken offEight small assorted serving dishes or sauce tureen stands: Two are cracked and one chippedTwenty-seven various soup plates: Four are cracked and chipped, some staining from age and useTwenty-two dinner plates: only two are undamagedfour breakfast plates: two are damageslarge punch bowl, 55.5cm diameter: cracked and scratchedGeneral condition: The service has been extensively used Condition Report Disclaimer

AFTER THOMAS GAINSBOROUGHPORTRAIT OF SIR THOMAS HANMER IN A YELLOW WAISTCOATOil on canvas92 x 71cm (36 x 27¾ in.)Literature:The original listed in Hugh Belsey, Thomas Gainsborough, The Portraits, Fancy Pictures and Copies After Old Masters (New Haven and London: Yale University Press, 2019) vol 1, p. 438, no. 442 Catalogue Note:Sir Thomas Hanmer, 2nd Bt (1747-1828) was the eldest son of Sir Walden Hanmer, 1st Bt (1717-1783), and his wife Anne, daughter and coheir of Henry Vere Graham of Holbrook Hall, Suffolk. Hanmer studied at Eton before heading to St. Catherine's College, Cambridge. In 1779 Hanmer married Margaret, daughter of George Kenyon of Peel. Taken from the original label on the reverse of the canvas it states Hamner was ' nominated to represent the County of Flint in Parliament upon the death of Sir Roger Mostyn in August 1796, but did not succeed this year 1803, during the war with France under the usurpation of Bonaparte. This gentleman raised two troops of Yeomanry Cavalry for His Majesty's service.'The original work dated to 1788 by Thomas Gainsborough has been held in a private collection in New Zealand since 2008.Condition Report: The canvas is relined. There is craquelure and light surface dirt throughout. There is a visible repair running from the centre of the gentleman's chest to the lower right corner with visible retouching and an uneven surface. There is an area of loss to the right hand side of the lower edge and an associated unstable paint surface. Inspection under UV light reveals a thick cloudy masking varnish, scattered retouching throughout and extensive retouching to the lower left quadrant.Condition Report Disclaimer