Large collection of various enamel badges; H. W. Miller Call Me Sweetheart, a blue heart shaped enamel badge with a courting couple, 25mm long; H.W. Miller Kiss by Kiss heart shaped badge with yellow banner and courting couple, 25mm long; a similar green enamel example; H. W. Miller Lights Out, a courting couple on a red crescent shaped banner, 25mm long; unnamed Boomps-A-Daisy, a lady wearing a blue dress, 25mm long; H.W. Miller Romance in the Rain, man and woman wearing blue jackets, 30mm long; H.W. Miller Stormy Weather, black enamel umbrella with courting couple, 26mm diameter; Miller The Old Covered Bridge; kissing couple with red enamel banner, 20mm wide; J.R. Gaunt The Bridal Waltz, lady wearing a purple dress, 25mm long; Miller Auf Wiedershen My Dear; lady wearing a green dress, 28mm long; H.W. Miller Borrows School of Dancing; lady wearing red dress on blue background; 20mm long; unnamed Hawleys enamel badge wearing a red dress, 30mm long; two H. W. Miller Lambeth Walk badges, one lady wearing red jacket and man wearing blue suit, 25mm long; together with a similar example with the lady wearing a yellow jacket and man wearing a pale blue suit; 25mm long; unmarked Bretts enamel badge, lady wearing a green dress, 23mm long; unmarked B?.K. Amateur badge, lady wearing a red dress, 25mm long; H.W. Miller enamel badge, Bathing in Sunshine, lady wearing green dress and yellow towel, 35mm long; a similar example of a lady wearing a red dress with a green towel, H.W. Miller enamel badge, red enamel badge with blue Blackpool Tower, 28mm long; H.W. Miller Alone enamel badge, lady sitting on stone plinth, wearing black skirt, 30mm long; W. Miller Gwen Rogers Romany Players enamel badge, lady wearing yellow and red dress, 32mm long; W. Miller One Night in Napoli, enamel badge man kneeling wearing red suit kneeling at a lady wearing a blue dress, 25mm long; W. Miller Have You Ever Been Lonely? kneeling lady in red dress with black banner below, 27mm long; together with a similar example of a lady wearing a blue dress, 27mm long; an unmarked chrome plated and enamel badge, lady wearing a red dress holding blue racket, 32mm long; Firefly enamel badge, lady wearing red dress with green wings, 40mm long; W. Miller Windsor Water Woolies, lady wearing a red bathing suit, 30mm long; W. Miller Carolina Moon, a black lady wearing a red dress reclining on a white moon, 30mm long; J.R. Gaunt, Poor Little Angeltine, lady wearing blue and red dress, 25mm long; two Miller Drummer Radio enamel badges, soldier with red tunic and yellow drum, 34mm long; indistinct makers stamp badge of a man wearing Highland Dress, 34mm long; Miller When The Guards Are On Parade; soldier wearing a red jacket, 33mm long; two Miller Silvery Moon, jazz musician wearing black suit, 34mm long; H.W. Miller enamel badge; standing ring master wearing red jacket and black trousers, 30mm long; Tin Can Fusiliers promotional badge, 41mm long; W Miller Amy Wonderful Amy promotional aeroplane badge, with blue enamel banner, 25mm wide; unnamed enamel pin badge, lady with orange bathing suit and holding orange parasol, 35mm long; a Collins of Birmingham enamel badge in the form a soldier, 38mm long together with an unnamed example; three Miller portrait enamel pin badges, two Percy Bush; George West and one other
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CONTINENTAL OLD MASTER OR ORIENTALIST SCHOOL: A WHIMSICAL ANTHROPOMORPHIC OIL PAINTING ON CANVAS DEPICTING MONKEYS PLAYING IN A VILLAGE,100cm x 61cmMounted in a gilt wood frame. Appears to have been relined. Dark marks to verso possibly wax when relined.Provenance: Found in a gentleman's garage, Esher, Surrey.
* JOE HARGAN PAI PPAI (SCOTTISH b. 1952), FEMME FATALE oil on canvas, signed and dated '99 framed and under glassProvenance: The Late Jack McLean image size 26cm x 26cm, overall size 42cm x 42cm Note: Joe Hargan, was born in 1952 in Glasgow. He studied Drawing and Painting at Glasgow School of Art from 1970 – 74 under Danny Ferguson RSW. RGI., James Robertson RSW.RGI.RSA.PAI. and Dr David Donaldson RSA. RGI. D.LITT (Queen’s Limner). Joe is a well recognised and respected figure on the Scottish art scene. He was President and Chairman of the Paisley Art Institute from1989 – 2000 and he was President of the Glasgow Art Club from 2018 to 2021. Joe is also the recipient of numerous awards. Joe is a master of colour and tongue in cheek humour. His paintings are not only finely executed; they offer humorous and sometimes surreal vignettes of the good life. These feature "Sniffy" and various other characters within striking gallery and stately home settings. Recurring symbols and metaphors abound within the paintings, and one is often treated to a painting within a painting. An old master within a new master. Having a real thirst for knowledge, Joe values learning as a life long pleasure rather than a school bound necessity. Within a single painting one can find, he references to Velazquez and Damian Hirst sitting side by side. This is alongside symbols of the good life (wine), learning (books), and contemporary culture (the burger). He juxtaposes apparently opposing forces within single paintings. Contemporary art and the art of the old masters, ‘high’ culture and ‘low’ culture. Joe Hargan paintings have always been much sought after in our auctions.
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)The Mill-Pond signed 'C.R.W. NEVINSON' (lower right)oil on canvas71.1 x 91.4 cm. (28 x 36 in.)Painted circa 1919Footnotes:ProvenanceRobert Younger, Baron Blanesburgh, G.B.E., P.C. (1861-1946), by 1920Acquired by the family of the present owner in the 1970s and thence by descentPrivate Collection, U.K.ExhibitedLondon, The Leicester Galleries, New Works by C.R.W Nevinson, October-November 1919, cat.no.20Manchester, City of Manchester Art Gallery, Nevinson, July-August 1920, cat.no.2London, The Leicester Galleries, Memorial Exhibition of Pictures by C.R.W. Nevinson, A.R.A., May-June 1947, cat.no.18LiteratureMalcolm C. Salaman, 'The Art of C.R.W. Nevinson', The Studio, Vol.78, No.321, December 1919, pp.95-101'C.R.W. Nevinson's Work at the Leicester Galleries', The Ploughshare, November 1919, cat.no.20 (ill.b&w)Christopher Richard Wynne Nevinson, 'Reminiscences', The Studio, Vol.124, No.597, December 1942, p.197 (ill.)David Peters Corbett, The Modernity of English Art, 1914-30, Manchester University Press, Manchester, 1997, pl.33 (ill.,b&w)In the aftermath of the First World War, C.R.W. Nevinson wrote that 'the immediate need of the art of today is a Cézanne, a reactionary, to lead art back to the academic traditions of the old masters, and save contemporary art from abstraction' (Malcom C. Salaman, The Art of C.R.W. Nevinson, The Studio, December 1919). This is a major departure from Nevinson's pre-war attitude. In 1914 he had emphatically sided with modernity in a Futurist manifesto co-authored with Marinetti, the leader of a movement that defined itself by the desire for an unrelenting break from the past. But in the context of the present work, first shown in 1919 in Nevinson's 'Peace Exhibition', the quote is enlightening from a number of perspectives. The Mill-Pond is certainly Cézanne-esque. The slanting brushwork instantly recalls the French master, shimmering in patches juxtaposed by colour and angle. When compared to Cézanne's Lac d'Annecy (1896, The Courtauld), one sees the similarity in palette, and the style of the trees as they line the right bank of the pond, creating a stage-curtain framing the scene at an angle typical of Cézanne's unorthodox eye for space. More prominent in both works, though, are the flat-coloured houses viewed from across the pond, their reflections dancing back across the water surface towards the easel, emboldened by pronounced black outlines leading the way. The smaller, closer scale of The Mill-Pond allows Nevinson to explore in greater detail certain features that enhance the textural variety of the work, such as the duller, matt lily-pads contrasted serenely against the glistening water surface, and the grassy reeds leaning against the brushwork of the sky.The stylistic range of Nevinson's 'Peace Exhibition' was noted by critics at the time, seen by some as a sign of indecisiveness, and The Mill-Pond is undoubtedly in contrast with some of his more radical works. A century on, however, many would agree wholeheartedly with his refusal 'to use the same technical method to express such contradictory forms as a rock and a woman' (David Peters Corbett, The Modernity of English Art, 1914-30, Manchester University Press, Manchester, 1997, p. 151). As mentioned, this pragmatism was not on show during the early 1910s, at the height of his Futurist engagement. But the Great War would gradually bring a powerful wave of nostalgia over the British imagination for a time (largely fantasised) before Modernism had facilitated the horrors of those four years, and this inevitably brought into question the more dogmatic Futurist ideas. In light of this, the opening quote fits rather more neatly than it may at first seem. Returning to a closer inspiration from the source meant stripping back a few layers of radical Modernism, inching closer to the initial break from Academic traditions, albeit in reverse. As Nevinson took a contemplative step back for some of the works on display at the 'Peace Exhibition', he allowed a more direct influence from Cézanne to come through. In doing so, he captured the calm rurality for which many at the time longed, preserving for us a unique point in our collective emotional state, one at least temporarily untouched by the dizzying drive towards modernity.We are grateful to Christopher Martin for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Registration No: NSY 228 Chassis No: HBT7/9376 MOT: ExemptFinished in Colorado Red and White with a Red interior trimUK RHD example with matching engine and chassis numbersOffered with a BMHIT Heritage Certificate and a collection of invoicesFull weather equipmentThe star of the 1952 London Motor Show, the 'Big Healey' enjoyed steady development, with the early four-cylinder cars giving way to the 100-Six in 1956, which in turn was replaced by the first of the 3000s in 1959. By now the engine capacity had risen to 2912cc and the power output to 124bhp - sufficient to grace the standard car with a 0-60mph time of 11.4 seconds and a top speed of 114mph. There was the option of Laycock de Normanville overdrive for the four-speed gearbox and braking had been improved by the adoption of discs at the front. There were two body options - a two-seater (BN7) or an occasional four-seater (BT7). By the time the MkI 3000 was superseded by the MkII in 1961, a total of 2,825 BN7s and 10,825 BT7s had been produced.Recorded by the DVLA as first registered in the UK on 21st February 1961, chassis number HBT7/9376 is the ‘BT7’ 2+2 iteration of the Austin-Healey MkI. Believed to be a correct numbers car, with engine number 29D/R/YH14777, a BMIHT certificate shows the Healey to have been configured in right-hand drive for the home market in Colorado Red and Black with Red trim and a Black soft-top. Built 10th -11th May 1960, it was despatched on 24th May 1960 to Lankester's Limited, Surbiton, Surrey (then 're-despatched' 20th February 1961) with overdrive, wire wheels, heater, laminated windscreen and road speed tyres. Little is clear about the ownership history before c.1989, however, a Mr Boxall of Solihull owned the car around this time and oversaw restoration work on the Healey in late 1989 into the summer of 1990. A May 1991 sales invoice is on file from Anthony Coyne Classic Cars, Birmingham regarding the sale of the car to Mr Stenning of Bolton, and in February 1998 Grundy Mack Classic Cars, Huddersfield sold the car to Mr Howard of Rotherham with the mileage of 25,928 recorded on an invoice. H&H Classic Auctions presented the car at auction on 23rd September 1998.In summary, maintenance work on 'NSY 228' includes: October 1989 - July 1990 £4668.33 spent on restoration work including bodywork, respray, re-chroming and parts and labour; May 1992 brake fettling and a leaf spring by T & W Motors of Bolton; June 1992 (mileage reading 20,207) brake overhaul Barcol Auto Centre, Oldham; June 1993 brake and clutch master cylinder purchased from AH Spares; March 1998 silencer fitted by Swift-Fit, Rotherham. Evidently, the Healey relocated to the Republic of Ireland in May 1999 before coming back to UK ownership in 2015. Offered with a collection of old MOT paperwork and a number of Eire tax and insurance discs, there is a current V5C on file along with many receipts and notes from some of the historical work carried-out. For more information, please contact: James McWilliam james.mcwilliam@handh.co.uk 07943 584760
* Aldin (Cecil Charles Windsor, 1870-1935). The Start and the Finish of the Derby, Richard Wyman & Co. 1923, the pair of photolithographs, both signed in pencil by the artist to the lower left and with artist's proof blind stamps to the lower right, some surface abrasion and damage to the printed image, each approximately 365 x 515 mm, mounted, together with The Mermaid Inn Rye [and] The Golden Cross Oxford, Eyre & Spottiswoode, circa 1920, two photolithographs from the 'Old Inns' series, both with a blind stamp and the artist's pencil signature to the lower left, 'The Mermaid' laid on card with old adhesion scaring to the margins, both toned, each approximately 445 x 360 mm, with The Master, Thomas McLean, October 1st 1900, chromolithograph, coloured remarque of a fox mask and brush, large margins, slight spotting, 500 x 350 mm, plus The First, Thomas McLean, April 1901, chromolithograph, laid on card with slight spotting, 370 x 640 mm, with another 10 prints, all after Cecil Aldin of fox hunting scenes, coaching, dogs and genre, various sizes and conditionQTY: (16)
Lots 222 - 225 Four exceptional works by Francis Newton Souza (1924-2002) belonging to Dr. Premlata Goel, widow of the distingished art critic, K.B. Goel (1930-2018), close friend of the artist. All four works were gifted to K.B. Goel by Souza. Francis Newton Souza, Indian (1924-2002) Untitled, Landscape, Signed and dated "Souza 1989" (upper right) Acrylic on canvas,74 x 100cm (29.2 x 39.5in)Painted in 1989Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).Gifted by Souza to K.B Goel in the late1980s. To see other works from the same collection, see Bonhams, Modern & Contemporary South Asian Art Online, 20th-28th February 2023, lots 1-5.This landscape unlike many other landscapes or cityscapes that Souza painted in the 1980s is comprised of structures that appear to acquire form from the juxtaposition of green, blue and red lines. As if Souza while painting this wanted to exclude the use of the colour black which imparts an overall definition to the structure of the painting. However he manages to create a framework with extremely sketchy and rapidly executed strokes in a multitude of colours that remain fresh, none the same and in doing so, reveals Souza the colourist. A vibrancy of greens brings to life the dominant foliage in the foreground, the construction of which divides as well as merges with structure in the background space thereby allowing the eye to rove in and out of the picture. Footnotes: Much has been written about the different aspects of Souza’s life, right from his childhood, to multiple marriages and his journey as an artist. I consider my family very fortunate to have known Souza at such close quarters, away from the controversy and the criticism, the Souza who yearned to lead a regular family life. He was particularly close to my younger son, as if the age gap didn’t exist. He would take him to all sorts of movies, eat at fast food places and even pay a visit to a very cheap salon to get his beard and hair trimmed. Souza mentioned this in one of the letters he used to frequently write to my younger son.He would take a place near our house in old Delhi which was far from the comforts of a five star hotel. He would come every evening and go back late since he lived only a walking distance away. He enjoyed the simple home cooked meals I would serve him and found the food very flavourful. Souza’s every visit used to be cherished by all of us. It was so rich with the anecdotes, one used to feel that here was not just a great artist but a vastly read person who possessed this astonishing range of knowledge. We also sat through some stormy sessions of conversation between Goel and Souza not in agreement on some very deep philosophical issue.This also meant that, much to the chagrin of his many admirers and the gallery owners, he would frequently give up fancy parties and meetings to be with us. Souza’s multi-dimensional personality was evident, from the great artist and writer to enjoying childlike moments with my son and being a master of world affairs and philosophy. He always mesmerized us with his clarity of thought and vision, always deeply worried about wars, the human condition or his take on the ugly side of religion’.As dictated by Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel (1930-2018). Condition Report: Some losses to surface paint, some weathering, reverse of canvas with some staining
JOHNNIE WALKER 12 YEAR OLD BLACK LABEL AND JOHNNIE WALKER DOUBLE BLACK BLENDED WHISKY Each 40% ABV / 70cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
JOHNNIE WALKER 12 YEAR OLD BLACK LABEL MCLAREN EDITION 1L BLENDED WHISKY 43% ABV / 1L When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
JOHNNIE WALKER 12 YEAR OLD BLACK LABEL TRISTAN EATON SPRAY CAN EDITION BLENDED WHISKY 40% ABV / 70cl When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
JOHNNIE WALKER 15 YEAR OLD GREEN LABEL AND RED LABEL 200 YEARS GIFT PACK BLENDED WHISKY 15 Year Old Green Label - 40% ABV / 70clGift Pack:200 Years Red Label - 40% ABV / 70cl12 Year Old Black Label - 40% ABV / 20cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
GLENLIVET RARE CASK SMALL BATCH 1L AND MASTER DISTILLER'S RESERVE 1L SPEYSIDE SINGLE MALT Each 40% ABV / 1L Qty: 2 One of the very first distilleries in Scotland to be granted an official licence, after the passing of the licencing act in 1823, Glenlivet distillery has become synonymous with Speyside whisky. So much so, that at one point 28 other distilleries in the area adopted “Glenlivet” as a suffix to their own brand in order to piggyback on the reputation Glenlivet had built for itself. Although that practise has fallen by the wayside in recent years some independent bottlers still use it. The Glenlivet brand is now one of the most recognisable in the world, and despite the distillery undergoing an expansion and upgrade (beginning) in 2010, their iconic 12-Year-Old expression still had to be discontinued for a few years before production was able to catch up with demand.
JOHNNIE WALKER 18 YEAR OLD GOLD LABEL AND 12 YEAR OLD BLACK LABEL BLENDED WHISKY Both 40% ABV / 70cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well.Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
JOHNNIE WALKER 18 YEAR OLD PLATINUM AND GOLD LABEL RESERVE BLENDED WHISKY Each 40% ABV / 70cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
JOHNNIE WALKER 15 YEAR OLD GREEN LABEL AND JOHNNIE WALKER SWING 75CL BLENDED WHISKY Green Label - 43% ABV / 70clSwing - 43% ABV / 75cl Qty: 2 When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
JOHNNIE WALKER 21 YEAR OLD XR 75CL BLENDED WHISKY Bottle Number: JW V 34417 XR40% ABV / 75cl When John Walker opened a grocery, wine and spirits shop in the Ayrshire town of Kilmarnock in 1820, he had no idea that it was the start of a journey that would end up with the biggest selling Whisky brand in the world bearing his name. The Johnnie Walker Striding Man, the square bottle and the label, placed at exactly 24° would become an iconic sight. Not just in the Whisky world, but in the mainstream as well. Johnnie Walker is now owned by drinks giant Diageo and carefully watched over by Master Blender Dr Emma Walker (no relation) who took over after the legendary Jim Beveridge retired in 2022, after 40 years with the company.
An Order of St. John group of five awarded to Chief Surgeon J. B. Wilkinson, Oldham Corps, St. John Ambulance Brigade, who served for 38 years as Medical Officer for Health in Oldham and took an active part in recruiting ambulance men during both the Boer War and the Great War The Order of St. John of Jerusalem, Knight of Grace’s set of insignia, comprising neck badge, silver and enamel, with heraldic beasts in angles; Star, silver and enamel, with heraldic beasts in angles, with maker’s mark ‘JBC’ to reverse of Star; The Order of St. John of Jerusalem, Honorary Associate’s breast badge, silver, with heraldic beasts in angles; St. John Medal for South Africa 1899-1902 (Chief Surg. J. B. Wilkinson. Oldham Corps.); Jubilee 1935, unnamed as issued; Service Medal of the Order of St. John, with 5 Years Service bar (Chief Surgeon J. B. Wilkinson, 10. July. 1908.), mounted court-style for display; together with an Oldham Corporation Jubilee Celebration Medal 1899, white metal, unnamed as issued, light contact marks, very fine and better (7) £400-£500 --- James Bates Wilkinson was born at Godmanchester, Huntingdonshire, on 4 July 1857, and was educated at Huntingdon Grammar School, the University of Edinburgh, and the Royal College of Surgeons, graduating Bachelor of Medicine and Master in Surgery in 1883 and Doctor of Medicine in 1885. Initially working for the University of Edinburgh as Demonstrator in Pathology, Wilkinson subsequently went into private practice in London, and later in Peterborough and Manchester. In 1887 he moved to Oldham, and took an active part in sending out ambulance men to the Boer War, for which service he was one of the small number of ‘notables’ awarded an ‘honorary’ St. John Medal for South Africa; during the Boer War, Oldham had the distinction of contributing the largest number of men to the St. John Ambulance Brigade of any provincial town. Wilkinson served as School Medical Officer for Oldham from 1906 until his retirement in 1936. He was made an Honorary Associate of the Order of St. John on 25 April 1899 and was advanced to Knight of Grace on 21 October 1921. During the Great War he repeated his previous training endeavours for ambulance men and by 1930 had signed over 10,000 certificates and approved 13,000 awards in his capacity as Secretary for the Oldham branch of the St. John Ambulance Association. He died on 22 February 1941, his obituary in the Oldham Chronicle, dated 1 March 1941, noting: ‘He will long be remembered as a courteous and gentlemanly public servant of the old school.’ Sold with copied research. For the medals awarded to the recipient’s wife and daughter, see Lots 105 and 106.
“You were the only person who ever succeeded in teaching me mathematics or indeed - let me add - in making me work at anything that did not excite my interest. I regard my work at mathematics under your care as the most salutary mental discipline I ever received.” (Winston Churchill, October 1906) An interesting personal letter written in October 1906 by Winston Churchill whilst he was serving in his first ministerial post as Under-Secretary of State for the Colonies - The letter written to his old mathematics teacher at Harrow, Charles Mayo The whole letter handwritten in black ink by Winston Churchill on folded four-sided official Colonial Office letter-headed paper and signed: “Winston Churchill”, contained in the original Colonial Office sending envelope, with sender’s and receiver’s stamps, again addressed in Churchill’s own hand: “Personal - C. M. P. Mayo, Esq., Harrow School, Harrow on the Hill” and signed “W. Churchill” to lower left corner, good condition £6,000-£8,000 --- The full text of the letter reads as follows: “Private 18 Oct 1906 My Dear Mr Mayo, I am much pleased to get your kind letter and to know that you were interested in my life of my father [Lord Randolph Churchill, published 1906]. It was a labour of love to me & I am glad to think that it has been so well received upon all sides. Let me thank you for your kind expressions about my political work. You were the only person who ever succeeded in teaching me mathematics or indeed - let me add - in making me work at anything that did not excite my interest. I regard my work at mathematics under your care as the most salutary mental discipline I ever received. It is a detestable subject & I rejoice to think I have never since had the occasion to pursue it further than the simplest forms of addition & subtraction. But while I have often found it easy to assimilate ideas & group them in new combinations, upon subjects which commanded my interest & pleased my mind, I do not remember ever having to face such a dead uphill pull as I had to under your instruction for my Sandhurst examinations. Certainly that effort was wholly successful & although the knowledge is gone, the faculty no doubt remains in a greater power of appreciation than I should otherwise have developed. The memory of those exertions & of your kindness & care, makes your praise & interest especially valuable to me. Yours sincerely Winston Churchill” Charles Henry Powell Mayo (1859-1929) was Winston Churchill’s mathematics master for his last year at Harrow and in just six months managed to teach him enough to pass his exam. At his first attempt, out of 2,500 marks, Churchill obtained a score of 500. At his second attempt he scored nearly 2,000, which remarkable improvement Churchill attributed to: “the very kindly interest taken by the much respected Harrow master, Mr. C.H.P. Mayo, who convinced me that mathematics was not a hopeless bog of nonsense, and there were meanings and rhythms behind the comical hieroglyphics.” Few lives have been documented in such detail as Winston Churchill and it is also fortunate that Charles Mayo published his own detailed autobiography, Reminiscences of a Harrow Master, in 1928 shortly before he died. In his book he writes glowingly of the young Churchill and gives his insight into life at Harrow, including his views on ‘fagging’ , the common system of the day at public schools whereby younger boys carried out duties for the seniors, to which Churchill was himself subjected in his time at Harrow. Mayo endorsed the practice in the following terms: "Those who hope to rule must first learn to obey... to learn to obey as a fag is part of the routine that is the essence of the English Public School system... the wonder of other countries”. Winston Churchill maintained a deep affection for Harrow throughout his life and often referred to his time there and his gratitude to his mathematics teacher Charles Mayo who helped him pass his exams for Sandhurst. Charles Mayo was amongst the guests at Winston Churchill's wedding in 1908. In 1941 Churchill delivered one of his most famous speeches of the Second World War in the familiar surroundings of his old school, when he uttered the immortal line: “Never give in, never give in, never, never, never, never - in nothing, great or small, large or petty - never give in except to convictions of honour and good sense.”
Spalding Club Collection of works All 4to, original green cloth (variable mottling and damp-staining to bindings), titles comprise:Abredoniae Utriusque Descriptio. A Description of Both Touns of Aberdeen by James Gordon, Parson of Rothemay, 1842 (damp-staining); A Breiffe Narration of the Services done to Three Noble Ladyes, by Gilbert Blakhal, 1844; The Heraldic Ceiling of the Cathedral Church of St Machar, Old Aberdeen, 1888 (one of 525 copies); Hectoris Boetii Murthlacensium et Aberdonensium Episcoporum Vitae, 1894 (one of 500 copies, frontispiece near-detached); The Records of Aboyne, 1894 (one of 525 copies); Records of Old Aberdeen MCLVII-MDCCCXCI, 1899 (one of 525 copies); The Family of Burnett of Leys, 1901 (one of 525 copies); The Blackhalls of that Ilk and Barra, 1905 (2 copies, each one of 500, one copy with title-page detaching); Bibliographia Aberdonensis, 1929 (2 volumes); Mystics of the North-East, 1931; The Prehistoric Antiquities of the Howe of Cromar, 1931; The Jacobite Cess Roll for the County of Aberdeen in 1715, 1932; The Valuation of the County of Aberdeen for the Year 1667, 1933; Drawings of Aberdeenshire Castles, 1936; The House of Forbes, 1937; Powis Papers, 1951; The Place-Names of Aberdeenshire, 1952; George Strachan. Memorials of a Wandering Scottish Scholar of the Seventeenth Century, 1956; Together with 2 copies of William Temple, The Thanage of Fermatyn, Aberdeen, 1894, 4to, original green cloth, similar condition to the preceding (22) From the library of the late Robert Bogdan (1950-2023), of Boghead of Torries and Dykehead of Avochie, Aberdeenshire, geography master at Charterhouse and sometime chairman of the Scottish Castles Association.
Peacock, Francis Sketches relative to the History and Theory, but more especially to the Practice of Dancing … intended as Young Teachers of the Art of Dancing. Aberdeen: J. Chalmers & Co., 1805. First edition, 8vo, 224 pp., uncut in original boards, contemporary ownership inscription ('Colonel Forbes') to the title-page, a little wear to binding, contents lightly spotted and browned;Shirrefs, Andrew. Poems, chiefly in the Scottish Dialect. Edinburgh: printed for the author, 1790. First edition, 8vo, xxviii [2] 365 41, uncut in original boards, half-title, engraved portrait frontispiece, contemporary ownership inscription ('Colonel Forbes') to the title-page, spine worn, front free endpaper loose, old finger-soiling to lower fore corner of half-title, frontispiece (tipped to half-title) detaching at head;Gisborne, Thomas. An Enquiry into the Duties of the Female Sex. London: for T. Cadell Jun. and W. Davies, 1798. Third edition ('corrected'), 8vo, viii 448 pp., uncut in original boards, contemporary ownership inscription ‘M D. Horn Elphinstone’ (Margaret Dalrymple-Horn-Elphinstone, c.1765-1849) to preface; Denon, Vivant. Travels through Sicily and Malta: from the French. Perth: R. Morison Junior, 1790. 12mo, [4] 210 pp., uncut in original boards, half-title, engraved portrait frontispiece, ownership inscription ‘A. Forbes’ to title-page, binding slightly worn and marked;Lady's Magazine. The Lady's Magazine, or Entertaining Companion for the Fair Sex. London: for G. and J. Robinson, 1805. Volume 36 only, 8vo, contemporary half calf, engraved frontispiece and additional title-page, hand-coloured engraved plates of women's fashion, other engraved plates including needlework patterns (not collated, paper lifting from covers) (5) From the library of the late Robert Bogdan (1950-2023), of Boghead of Torries and Dykehead of Avochie, Aberdeenshire, geography master at Charterhouse and sometime chairman of the Scottish Castles Association.
![[Wynne, John Huddlestone (1742-1788)] The Man of Honour: or, the History of Harry Waters, Esq. London: printed for F. and J.](https://cdn.globalauctionplatform.com/fa3a51a3-a43e-4fca-a92a-b17700c6677d/3a1321a8-905e-4c6d-bfb2-b17700c76483/468x382.jpg)
[Wynne, John Huddlestone (1742-1788)] The Man of Honour: or, the History of Harry Waters, Esq. London: printed for F. and J. Noble, at their respective circulating libraries, 1771-3. 3 volumes, 12mo (16.6 x 10cm), [2] 242, [2] 212, [4] 199, contemporary speckled sheep, spines ruled in gilt with twin red and green labels, half-title to volume 3 only, a little skinning and rubbing to leather, very occasional light soiling internally, volume 1 with shallow loss to head of spine, old stain to top spine compartment, leaves D3-10 working loose (held by bottom cord), volume 2 with short crack to head of front joint, volume 3 title-page slightly marked (3) Title-pages with ownership inscriptions ‘Margt Horn Elphinstone’ (dated 1792 in the first volume), presumably Margaret Dalrymple-Horn-Elphinstone (c.1765-1849, daughter of General Robert Dalrymple-Horn-Elphinstone (1718-1794) of Logie Elphinstone, Aberdeenshire, and wife of Sir Robert Burnett of Leys, 7th Baronet (1755-1837); subsequently from the library of the late Robert Bogdan (1950-2023), of Boghead of Torries and Dykehead of Avochie, Aberdeenshire, geography master at Charterhouse and sometime chairman of the Scottish Castles Association. First edition, extremely rare, the only known complete copy of this 18th-century triple-decker Bildungsroman, previously thought to be extant solely in the form of a copy of the first volume only at the John D. Rockefeller Colonial Williamsburg Library in Virginia, USA; a German translation was published in 1777 with the title Der Rechtschaffene oder Geschichte des Herrn Heinrich Waters. The author was once thought to have been John Cleland, author of Memoirs of a Woman of Pleasure, better known to posterity as Fanny Hill, on the basis of a remark in a contemporary obituary of Cleland, but the reference is now understood to be an obvious mistake for Cleland's 1768 work The Woman of Honour, and an issue of the London Chronicle (17-19 October 1771) names the author of The Man of Honour as J. H. Wynne, a hack writer who had spent time in the service of the East India Company.
Minerva Press - Canadian Novel - Slavery Yamboo; or, the North American Slave A Tale. In Three Volumes. By the Author of The Bravo of Bohemia. London: printed at the Minerva-Press, for A. K. Newman and Co., 1812. Volumes 1 and 3 only (of 3), 12mo, [2] 243 [1], [2] 216 pp., contemporary half calf, marbled paper sides, both volumes lacking front free endpaper, contemporary ownership inscriptions to front pastedowns and to first page of text, traces of old ink-stamps (Bury free library) to title-pages, occasional light soiling, volume 1 binding with paper covering detached from rear board and lifting from front board, calf backstrip also lifting, title-page with very small worm track to gutter, volume 3 with damp-staining to signature B, worming to lower margins of final signature (K) (2) From the library of the late Robert Bogdan (1950-2022), of Boghead of Torries and Dykehead of Avochie, Aberdeenshire, geography master at Charterhouse and sometime chairman of the Scottish Castles Association. First edition, extremely rare, no other copy traced in auction records. Set in the 1790s and dedicated to Martin Hunter, commander-in-chief, New Brunswick, Yamboo is the tale of a runaway slave who is taken in by a Colonel Beresford and his family and subsequently accompanies him to India to fight against Tipu Sultan, ruler of Mysore. ‘The first 68 pages take place in New Brunswick and contain long descriptions of St John, Frederictown, defenses, fashions, Indians, etc., all taken from obvious first hand knowledge’ (MacLeod, The Minerva Press, p. 371).
British topography and history Collection of works Logan, James. The Scottish Gael; or, Celtic Manners, observed among the Highlanders. London: Smith, Elder, and Co., 1831. First edition, 2 volumes, 8vo, contemporary tan half calf by J. Philip of Aberdeen, 8 hand-coloured aquatint plates including frontispieces, half-titles, contemporary ownership inscriptions (Alexander Irvine) to title-pages, volume 2 spine-label detaching;Bartlett, W. H. (illustrator). The Ports, Harbours, Watering-Places, and Coast Scenery of Great Britain. With Descriptions by William Beattie. London: George Virtue, 1842. First edition, 2 volumes, 4to, contemporary tan half calf by John Trail of Fraserburgh (with his ticket), numerous engraved plates, tissue guards;Brown, John C., & others. Scotland Illustrated in a Series of Eighty Views by John C. Brown, William Brown, Andrew Donaldson, John Fleming, David M. Mackenzie, W. B. Scott, D. Stewart, and Other Scottish Artists. London: A. Fullarton and Co., 1845. First edition, 4to, contemporary tan half calf by John Trail of Fraserburgh, numerous steel-engraved plates, tissue guards, joints cracked;Macgibbon, David and Thomas Ross. The Castellated and Domestic Architecture of Scotland from the Twelfth to the Eighteenth Century. Edinburgh: David Douglas, 1887-92. First edition, 5 volumes, large 8vo, original cloth;Campbell, J. F. Popular Tales of the West Highlands, Orally Collected, with a Translation. Edinburgh: Edmonston and Douglas, 1860. First edition, 4 volumes, 8vo, original cloth, frontispieces to volumes 2-4, bookplate of Hugh Henry Robertson Aikman to volume 1 (with related gift inscription to half-title), W. H. Smith & Son subscription library labels to front pastedowns of volumes 3 and 4, volume 2 cloth very mottled and rubbed, binding shaken, light mottling and rubbing to bindings of other volumes;[Landon, Letitia E.]. Fisher's Drawing Room Scrap Book; with Poetical Illustrations. London: H. Fisher, R. Fisher, & P. Jackson, 1835. 4to, original blind-stamped cloth with gilt-tooled leather backstrip, engraved plates including Indian subjects, front inner hinge cracked and frontispiece loose;Thornbury, Walter. Old and New London: a Narrative of its History, its People, and its Places. London: Cassell Petter & Galpin, c.1880. 6 volumes, 4to, contemporary red half calf, numerous wood-engraved plates;Gilpin, William. Remarks on Forest Scenery, and Other Woodland Views. Edinburgh: Fraser & Co., 1834. 2 volumes, 8vo, contemporary blue-green straight-grain half morocco gilt;Leslie, Forbes. The Early Races of Scotland and their Monuments. Edinburgh: Edmonston and Douglas, 1866. First edition, 2 volumes, 8vo, original blue cloth gilt, tinted lithographic plates (25) From the library of the late Robert Bogdan (1950-2022), of Boghead of Torries and Dykehead of Avochie, Aberdeenshire, geography master at Charterhouse and sometime chairman of the Scottish Castles Association.
Elizabethan medicine Annotated medical sammelband 4 works in 1 volume, 8vo, old calf ruled in blind, covers each with blind-stamped monogram ‘TM’ either side of central floral lozenge (possibly later), contents comprise: [?Cartwright, Thomas]. [An Hospitall for the Diseased. Wherein are to be found moste excellent and approved medicines … Very necessarie and profitable for this tyme of common plague and mortalitie … Newly augmented and inlarged. Gathered by T. C.]. London: for Edward White, c.1584. [6] 70 pp., losses to A1 (title-page) and A2 [STC 4305];[Vicary, Thomas]. [The English-Mans Treasure with the True Anatomie of Mans Body. London: Thomas Creede, 1596 or 1599?]. 55-110 pp. only [STC 24709/24709.5];Levens, Peter. A right profitable booke for all diseases. Called the Path-way to health. London: [by Edward Allde for] Edward White, 1587. [4] 1-3 [1] pp., 3-59 64-94, lacking quire Q and leaves R1, U2-3, 2A4, 2B1, and all after 2B4 (f. 94) [STC 15533];[Langham, William]. [The Garden of Health]. [London, ?1597]. Pp. 201-348 only [STC 15195].With some 25 blanks (including endpapers and interleaves) annotated by various hands (contemporary and near-contemporary to 18th century), including medical and quasi-occult receipts e.g. ‘How to goo invisible’, ‘If a woman can not conceive take harte horn to pouder … put it about her and doe the act of generation she shall have a man chyld', ‘To slay a cancer in on[e] night …', ‘To healle the pain of the gut …’, ‘Ane aproved medicen for the … jaundis’, the properties of different plants (with Latin names given: Prunela, ranunculus, salix, etc.), ownership inscriptions including one ‘Thomas Mille, Chirurgion’, doggerel verse on bees, etc. Occasional contemporary marginalia to text;Binding worn, general damp-staining, soiling, tears and losses, one initial blank (with annotations) loose From the library of the late Robert Bogdan (1950-2023), of Boghead of Torries and Dykehead of Avochie, Aberdeenshire, geography master at Charterhouse and sometime chairman of the Scottish Castles Association.
Loggan, David Oxonia Illustrata Sive omnium celeberrimae istius universsitatis collegiorum, aularum, bibliothecae Bodleanae, scholarum publicarum, theatri Sheldoniani; nec non urbis totius scenographia. Oxford: e theatro Sheldoniano, 1675. First edition, folio (44 x 29.5cm), contemporary mottled calf with gilt spine, engraved throughout with pictorial title-page, 3 leaves of text (Charles II's letters patent to David Loggan, address to the ‘spectatori ingenuo’, and Loggan's dedication to Charles II), 40 plates (all folding and mounted on stubs, one, Christ Church, additionally on 3 conjoined sheets), extra-illustrated with 3 engraved plates by Michael Burghers (Musaei Ashmoleani pars orientalis; The Orthography and Ichnography, Queens College Library in Oxford; The Orthography and Ichnography of Trinity College Chappel in Oxford, 1691) and an unsigned engraved plate of Tom Tower (Christ Church).Splitting to head and foot of each joint, title-page damp-stained and with repaired closed tear in fore margin (extending 3cm into image), letters patent facsimile toned and damp-stained, a few plates (4, 5, 8, 19, 20, 36, 40) with a single repaired closed marginal tears, plate 6 with old staining to fore margins, small marginal tear to plate 22, plate 38 separating at foot of central fold, a few other old blemishes and marks From the library of the late Robert Bogdan (1950-2023), of Boghead of Torries and Dykehead of Avochie, Aberdeenshire, geography master at Charterhouse and sometime chairman of the Scottish Castles Association. 'Influenced by the work of Wenceslas Hollar, Loggan's meticulously detailed views were the first accurate representation of all the buildings and gardens of the university, and they have been an invaluable quarry for historians, antiquaries, and topographers ever since' (ODNB). The plates include bird's-eye views of the colleges and halls, the Bodleian Library, the Sheldonian Theatre, and the Botanical Gardens, internal views of the Bodleian, a depiction of academic dress, a twin panorama of Oxford comprising views from the east and south, and a detailed bird's-eye city plan.
Vanity Fair Volume of caricatures, 1885-87 Folio, contemporary red cloth album containing 100 chromolithographic caricatures of politicians, aristocrats, judges, authors, soldiers, jockeys, etc., including Richard F. Burton, H. Rider Haggard, William Gladstone, Arthur Balfour, Maharajah Pratap Singh of Idar, and similar, identifying annotations to versos of several prints;Cameron, Donald Young (illustrator). The Story of the Tweed. By Sir Herbert Maxwell. London: James Nisbet and Company, Limited, 1905. First edition, out-of-series copy from the edition of 375, 4to, original cream cloth gilt, top edge gilt, others untrimmed, 23 engraved plates with tissue-guards;[Auction catalogue]. Stowe, near Buckingham. The Ducal Estate and Contents of the Mansion. Northampton: Jackson Stops, 1921. Folio, original cloth-backed boards, halftone photographic plates, binding very shaken, tear to head of spine, covers soiled;and 9 others including: Gertrude Jekyll, Wood and Garden, 1899 (first edition, original cloth, faded and mottled); idem. Home and Garden, 1900 (first edition, original cloth, faded and mottled), J. C. Atkinson, British Birds' Eggs and Nests, no date (12mo, contemporary morocco, chromoxylographic oological plates), Elizabeth Piper, Picturesque Old York, Leeds: Richard Jackson, 1895 (large folio, original red-brown cloth lettered in black, 10 etched plates of 12, tipped in and signed by the artist in pencil, spotting to text); and similar including c.1900 trade catalogues and other natural history, the lot not fully collated and sold as seen (14) From the library of the late Robert Bogdan (1950-2023), of Boghead of Torries and Dykehead of Avochie, Aberdeenshire, geography master at Charterhouse and sometime chairman of the Scottish Castles Association.
Aberdeen and Aberdeenshire Collection of works of local interest including local imprints Burnett, Alexander G., Laird of Kemnay. [Three travel accounts:] France and the French, a Lecture delivered at Kemnay Parish School, Aberdeenshire; Italian Experiences, being the Substance of a Lecture delivered in Kemnay Parish School; A Trip to Norway, in the St. Rognvald. Aberdeen: James Murray, 1868-78-87. 8vo, original varicoloured cloth, each work with folding colour map as frontispiece, France and the French and Italian Experiences each with bookplate of W. Kendall Burnett, A Trip to Norway with ownership inscription of Amelia Burnett dated Kemnay 1887;Leslie, John. Interesting Anecdotes, Memoirs, Allegories, Essays, and Poetical Fragments … published for the Benefit of the Shipwrecked Seaman's Fund. Aberdeen: D. Chalmers and Co., 1822. First edition, 8vo, uncut in original boards, half-title, front board near-detached;Innes, Thomas. The Chronicle of the Familly of Innes of Edingight. Aberdeen: privately printed, 1898. First edition, inscribed ‘from the author Tho. Innes’, 4to, original cloth;Wilson, G. W. Photographs of Aberdeen and Vicinity. Aberdeen: John Duffus, 1867. First edition, 4to, original cloth, 12 albumen-print photographs mounted on card, cloth very mottled, textblock detached from binding;Elphinstone-Dalrymple, C. Lays, Highland and Lowland. Aberdeen: John Rae Smith, 1885. First edition, 8vo, original red cloth (sunned);Buchan, Peter. Gleanings of Scotch, English, and Irish, Scarce Old Ballads, chiefly Tragical and Historical; many of them connected with the Localities of Aberdeenshire. Peterhead: P. Buchan, 1825. 8vo, contemporary half calf, lacking pp. 213/14;and 20 others similar, including general Scotland interest (e.g. R. Carruthers, The Highland Note-Book, 1843, original cloth, Bannatyne Club, Descrittione del regno di Scotia di Petruccio Ubaldini, 1829, original boards, backstrip perished (28) From the library of the late Robert Bogdan (1950-2023), of Boghead of Torries and Dykehead of Avochie, Aberdeenshire, geography master at Charterhouse and sometime chairman of the Scottish Castles Association. Bogdan was also a descendant of the Burnett family of Kemnay.
Wilkinson John Gilbert, (1805-1870), A Pair, Old man and terriers ratting in a barn and Old man seated with terriers before him, oil on panel, each signed and dated 1856, 21 x 27.5cm.Wilkinson John Gilbert was born at Wrentham, Suffolk on 14 May 1805, and baptised the following day, son of George Gilbert and his wife Betsy née Johnson. At the Court for the Relief of Insolvent Debtors, Wilkinson John Gilbert, formerly of Beccles, now of Bungay, drawing master, was discharged from his bankruptcy at the Insolvent Debtors Court held at the Shire Hall, Ipswich on 11 March 1833. He married at Halesworth, Suffolk in 1840, 21-year-old Harriet Symonds and in 1846 they lived at Pound Street, Halesworth. In 1851, Gilbert was a 46-year-old animal, portrait, and landscape artist, living at Pound Street, Halesworth with his 31-year-old wife Harriet, 10-year-old daughter Ada Jane and 2-year-old son Edwin Charles. A painter of many equestrian and sporting scenes, his pictures were decorative, and he paid great attention to detail. He appears to have exhibited publicly only once, at the Portland Gallery in 1851, and a pair of paintings ‘Shooting’ and ‘Hare Coursing’ signed and dated 1856, were auctioned at Sotheby’s Chester in 1981. By 1853 Gilbert had moved to Chediston Street, Halesworth but in 1861, an ‘artist’, boarding at the home of publican & butcher William Woods in Chediston Street, his wife Harriet, was a 40-year-old nurse at the nearby Bulcamp Union House. He seems to have had a dissolute life being regularly charged with drunkenness, having had several previous convictions, was charged on 15 June 1850 again on 15 June 1853 and on 27 October 1854. On 14 October 1859, an artist, he was found guilty of assaulting Elizabeth Rose and on 13 May 1861 he was charged with 'wilfully neglecting to maintain and provide for his son Claude Gilbert, whereby he had become chargeable to the parish of Halesworth' and on 29 May 1861 he was committed at Beccles 'for want of a surety on a charge of drunkenness' but was discharged by proclamation at Ipswich on 5 July 1861 and in May 1862 charged with being drunk and disorderly at Yoxford when committed to gaol for seven days. In September 1870, an artist, when lodging at 72 St Helens Street, Ipswich when 'in the habit of getting drunk' was accused of assaulting the housekeeper, Elizabeth Last, was sentenced to 14 days in gaol. In 1871, his wife Harriet was a widow and midwife, living at 195 Beresford Street, Stoke Newington with two of her children Ada and Claude, both unemployed and born at Halesworth. In 1891, Harriet was living in Putney with her unmarried daughter Ada and died in 1901.
Monogrammist "LR": FrauenbildnisÖl/Leinwand. Rechts unten monogrammiert. Ende 19. Jh. 40,5 x 40,5 cm. Gerahmt : 67,5 x 67,5 cm (Goldstuckrahmen). Wohl Kopie nach einem Renaissance Altmeister Porträt in oval gemaltem Rahmen. Retuschiert. Aufrufzeit 15. | Juni 2024 | voraussichtlich 13:52 Uhr (CET) Monogrammist "LR": Portrait of a womanOil/canvas. Monogrammed lower right. Late 19th century40.5 x 40.5 cm. Framed : 67.5 x 67.5 cm (gilt stucco frame). Probably a copy after a Renaissance Old Master portrait in an oval painted frame. Retouched. Call time 15 | June 2024 | probably 13:52 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
EDWARD WILLIAM STOTT (BRITISH 1855-1918) TREES OLD AND YOUNG, SPROUTING A SHADY BOON FOR SIMPLE SHEEP Oil on canvas Signed (lower left) 38 x 46cm (14¾ x 18 in.)Painted in 1888.Provenance: Bridgeman Images (listed as Springtime) Waterhouse and Dodd, London Private Collection Literature: Webb. V, Edward Stott, A Master of Colour and Atmosphere, Sansom & Company, 2018, p. 56, ill. No. 19William Edward Stott was a British artist born in Lancashire. He attended Manchester School of Art before furthering his studies in Paris from 1880, enrolling first at the studio of Carolus-Duran, and then between 1882 and 1884, at the Ecole des Beaux-Arts under Alexandre Cabanel.He returned to England and helped to found the New English Art Club in 1886, which at its inception had 50 members. The idea behind this new group was that it would be an exhibiting society for artists influenced by Impressionism and rustic naturalism. Among its members were Sir George Clausen, Philip Wilson Steer, Walter Sickert, and Henry Herbert La Thangue.In 1906, Stott was elected Associate of the Royal Academy of Arts. 1888 was an important year for the members of the New English Art Club as it marked the opening of the New Gallery. Founded by J. Comyns Carr and Charles Edward Hallé, it was completed in time to house the annual summer exhibition on 8th May. The theme of shepherds and their flocks played an integral part in the portraying of rural life, and proved a popular subject at the New Gallery exhibitions. Certain artists focused on shepherds herding sheep into pens, whereas others depicted the shepherd and his flock at rest, as is the case with Trees Old and Young, Sprouting a Shady Boon for Simple Sheep. The title of the work is taken from Book I of Keats' poem Endymion (1818), of which a collection of his poems was published in 1884, four years before Stott produced his work. The reference to poetry in his painting was typical of New Gallery artists who found inspiration in combining art and poems. Both Alfred East and Arthur Tomson referenced lines from poems in their 1888 exhibition pieces. Condition Report: The canvas has not been lined but it does appear to have been strengthened with a primer (probably at the time of conception), which has caused the canvas to undulate slightly in some areas. Some very light scattered craquelure throughout with a slightly heavier patch to the centre lambs, which is starting to lift. In addition there are two small areas of loss (to the centre left lamb), each approx. 5mm. There is a third area of loss (approx. 5mm) to the grass left of the same lamb's leg which has been overpainted, and this can be seen in natural light. Inspection under UV light reveals the aforementioned area of retouching, but no further evidence of restoration or repair.Condition Report Disclaimer
Corgi, Britbus & Creative Master Northcord, a boxed Bus group to include Creative Master Northcord UKBUS2005 Plaxton President Bodied Dennis Trident, Britbus AS2W-12 AEC Short Swift "London Transport" and others. Conditions although unchecked for completeness appear generally to be Fair to Good in Fair to Good boxes with crushing, discoloration and old price stickers. Some models appear re packaged therefore may have pieces missing, broken off or loose. See photos.
A group of books, mainly relating to English and Old Master paintings, including 'J.M.W. Turner: A Wonderful Range of Mind', 'Master Paintings from the Phillips Collection, Washington', 'Italian Art', 'Great French Painters from the Barnes Foundation', 'German Renaissance Prints 1490-1550', etc (17).
English School, 19th c - Study of Welsh Peasants, oil on copper, 12 x 19cm, a 19th c pen and ink sketch after an Old Master, indistinctly monogrammed, 26 x 19.5cm, a framed collection of four Indian miniatures, Disney, mixed subjects and media, further miscellaneous pictures and prints, etc., (30) Mixed condition.
A collection of approx. 30 Old Master and later prints, including Stefano della Bella (1610-1664) - Agnus Dei, s.l. [Paris]: Pierre Mariette I, n.d. [1640], etching, trimmed and retaining some margin outside the platemark, foxed portions, 17.5 X 13cm; Dutch School, first-half 17th c - Portrait of a Gentleman, s.l., s.n., n.d., engraving, 23 x 19.5cm, trimmed to within the platemark and re-margined; further 18th c and later portrait engravings, principally British, etc; further ephemera, including a newspaper, The London Gazette, Number 18608, Friday, September 4, 1829, folio; 29 Vatican City stamps, mint and uncirculated in a souvenir folder, the cover printed with a portrait of Pope Pius XII; USA, an envelope of uncirculated American stamps; an art book, Roessler (Arthur), Egon Schiele, Wien & Leipzig: Carl Konegen, 1922, original publisher's boards, perished paper spine, 8vo
27 small Royal Doulton toby and character jugs - The Lumberjack, The Wizard, Santa Claus, Pied Piper, North American Indian, Mr. Pickwick, Merlin, Charles Dickens, Shakespeare, The Master, Gaoler, Queen Victoria, Ugly Duchess, Gondolier, Parson Brown, Jarge, The Mikado, Captain Hook, The Jockey, Old Salt, The Angler, D'Artagnan, Nelson, Winston Churchill, Rip Van Winkle, George Washington, Christopher Columbus
1980 Honda CBX 1000 Registration number RFE 699W Frame number CS12011399 Engine number CB1E 2011 578 36,453 recorded miles Original machine in excellent condition Serviced and ready to ride Fitted a new battery and genuine fuel tap Alternator, master cylinders and calipers refurbished in 2020 Genuine tool kit and manual Fitted with rare and collectable crash bars All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions With V5C, MOTs, owner's manual and old tax discs This lot must be collected by 12.30pm on Friday 8th June. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
Attributed to Jan PORCELLIS (c.1584-1632) Dutch Beach View Pen, brown ink and wash, attribution to the mount, 18.5cm x 29cm, 38.5cm x 48.5cm.Note: For a very similar but, smaller example see Sotheby NewYork 29 January 2020 Old Master Drawings lot 78 This work has not been examined out of the glazed frame. Images have been uploaded showing the spotting to the paper. We can see no tears or repairs.
Adam Henein (Egypt, 1929-2020)The Reader bronzesigned on the verso, numbered '6/8', number 6 from an edition of 8, executed between 1968-196940 x 32cm (15 3/4 x 12 5/8in).Footnotes:Provenance:Property from a private collection, CairoPublished:M. Khazindar, Adam Henein, Skira, Milan 2005 (another edition illustrated in colour on page 84)Adam Henein's sculpture 'The Reader' from the 1960s stands as a profound testament to the fusion of historical reverence and modern abstraction. This sculpture draws a silent but unmistakable parallel to the ancient Egyptian masterpiece 'The Sated Scribe,' housed in the Louvre, while also echoing the introspective power of Rodin's 'The Thinker.' With its simplified forms and smooth, rounded surfaces, 'The Reader' carries the dignified essence of traditional Egyptian sculpture, known for its representation of composed authority and eternal stillness.Henein, an Egyptian sculptor with a deep connection to his cultural heritage, was a master in interpreting his country's ancient artistic language and transforming it into modern expression. 'The Reader,' with its seated form exuding a sense of contemplation, evokes the age-old tradition of learning and wisdom that was central to ancient Egyptian culture. The sculpture's stylized features – the pronounced head, the indicative gesture of the hand, and the cubic simplicity of its base – all resonate with the timelessness of Egyptian art. Yet, the smoothed abstraction and the robust, flowing forms also gesture towards European sculptural influences, creating a piece that transcends geographical boundaries.There's an undeniable aura of pride and authority emanating from 'The Reader.' It captures a moment of profound engagement, be it with the self or the world at large. The positioning of the figure, upright and poised, suggests a reader not only absorbed in his material but also ready to impart knowledge, a duality that gives the sculpture its dynamic tension. The posture could be seen as introspective, a figure lost in the pages of a text, or as an orator, delivering words of significance to an unseen audience. This ambiguous interpretation allows viewers to project their narrative onto the sculpture, making it both personal and universal.'The Reader' stands as a dialogue between the internal and the external – a celebration of the act of reading as both a solitary and a shared experience. Henein's work invites contemplation on the power of literacy, knowledge, and the timeless tradition of storytelling. In this single form, the sculptor encapsulates the essence of transmission from the ancient to the contemporary, the private to the public, and the individual to the collective, bridging worlds with the silent power of sculpture.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Φ Hans Bellmer (German 1902-1975)Mode D'EmploiThe deluxe book, comprising seven etchings on BFK Rives papers, together with a duplicate suite on Japon Hosekawa papers, each signed Bellmer (in pencil to margin)No.122 of 165, published by Editions Georges Visat, Paris, 1967, loose in original paper wrappers, boards and slipcase25.1 x 17.9cm (slipcase)Provenance:Sotheby's, London, Old Master, Modern & Contemporary Prints, 10 October 2002, lot 2, where purchased by the present private collector
1st-2nd century A.D. With an elongated body and a long nozzle with a rounded tip; raised rim enclosing the upper face with an ivy lef-shaped filling hole; wide handle terminating to a female tragic mask with a palmette below the chin, the hair dressed in ringlets with two rows of curls to the brow, eyes inlaid with silver; accompanied by a custom-made display stand. Cf. Bailey, D.M., A catalogue of the lamps in the British Museum, IV, Lamps of metal and stone, and lampstands, London, 1996, no. Q3669 (said to be from Rome) for identical, and Q3670 (preserved only in the identical mask); many other similar examples are from Pompeii, see Valenza Mele, N., Museo Nazionale Archeologico di Napoli, Catalogo delle Lucerne di Bronzo, Rome, 1981, nos.344-345; from the Western Provinces, see Rolland, H., Bronze Antiques de Haute Provence, Paris, 1965, no.357; and from the East, see Bérard, C., Bronzes Hellénistiques et Romains, Lausanne, 1979, pl.116, 7 and 10; cf. also Mitten, D.G., Doeringer, S.F., Master Bronzes from the Classical World, Cambridge, 1967, no.297, for identical, and Edgar, C.C., Greek Bronzes, Catalogue général des antiquités égyptiennes du Musee du Caire, Cairo, 1904, pl.12H. 1.97 kg, 28 cm wide (4.31 kg total, 27.5 cm high including stand) (11 in. (10 7/8 in.)). Old private British collection, pre-1965. Property of a gentleman; acquired in the UK before 2000. Accompanied by a copy of an old black and white photograph and an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12033-215424.The lamp is of Loeschke type XX (Walters type 6), with many of these lamps made in Italy, but some are also found in the East. The tragic mask appears frequently on lamp handles, probably as an apotropaic subject. The mask was an inseparable element of unity with the past and religious context. [A video of this lot is available to view on Timeline Auctions Website]
Florence, Italy, circa 1470 A.D. Discoid glazed mount with tiered profile, painted miniature of an Old Testament prophet with epigraphic scroll and incomplete Latin inscription reciting 'Hic e Deus tuus..et non estimavi ali...ac illus' [He is your God...and I did not estimate other...and He...' Cf. similar in Tóvizi Á., 'Some newly discovered Quattrocento illuminations in Székesfehérvár', in Arte cristiana, 96 (2008), pp.307-12. 57 grams, 11.4 cm (4 1/2 in.). Private collection, Tuscany, inherited, 1969. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12059-217465.The illumination is from a cutting of dismembered codex, likely representing a book of the Old Testament. In 15th century North Italy there were proficient artists realising images on vellum, like the Master of Murano Gradual (active between 1430-1460). The miniature represents an Eastern Prophet, dressed with turban and long coat, maybe Ezekiel, or Abacuc, or even Moses, a prophet linked with the prophecies related to the Messiah. [No Reserve]
Art Reference Books - Silver, Gold & Jewellery Sitwell, Major-General H.D.W The Crown Jewels and Other Regalia in the Tower of London. 1953 Stopford, Francis The Romance of the Jewel (Printed for Private Circulation),1920 Semyonov, V.B. Malachite: Ural Gems, Two Volume Set in Slipcase: Volume 1: Poetics of Stone; Volume 2: Chronicles, Documents, Commentaries, 1987 Semyonov, V.B. Satin-spar - Ural gems, in slipcase, 1984 Grimaldi, David A. Amber, 1996 Flower, Margaret Victorian Jewellery, 1951 Tait, H Catalogue Of The Waddesdon Bequest In The British Museum 1 The Jewels, 1986 Hayward, J. F. Virtuoso Goldsmiths and the Triumph of Mannerism 1540-1620, 1976 Bapst, Germain Histoire des Joyaux de la Couronne de France, 1889 Christie's, Hong Kong Auction Catalogue: Important Watches. Jewellery and Jadeite Jewellery 1999 Phillips, Philip A. S. Paul de Lamerie. Citizen and Goldsmith of London. A Study of his Life and Work AD 1688-1751, 1968 Hare, Susan, et al Paul De Lamerie, at the Sign of the Golden Ball: An Exhibition of the Work of England's Master Silversmith, 1688-1751, 1990 Culme, John The Directory of Gold & Silversmiths: Jewellers & Allied Trader 1838-1914 from the London Assay Office Registers, 2 Volumes, 2000 Wilkinson, Wynyard R. T. Indian Colonial Silver - European Silversmiths in India (1790-1860) and Their Marks, 1973 Hernmarck, Carl Art of the European Silversmith, 1430-1830, Text & Plates Volumes, 2 volumes in slipcase, 1977 Hartop, Christopher he Huguenot Legacy: English Silver, 1680 - 1760 from The Alan and Simone Hartmann Collection, 1996 Sassoon, Philip (forward by) Catalogue of A Loan Exhibition of Old English Plate and Decorations and Orders at 25 Park Lane, London, 1929 Postnikova-Loseva, M. M. Russkoe iuvelirnoe iskusstvo ego tsentry i mastera. XVI-XIX vv. [Russian jewellery art: its centers and masters, 16-19 centuries] , 1974 Cantz, Hatje VIENNESE SILVER - Modern Design 1780-1918, 2003 Oman, Charles A Catalogue of Plate Belonging to the Bank of England, 1967 Kauffman, Henry J. The Colonial Silversmith: His Techniques and His Products, 1969 C. François Thomas Germain: Orfevre des Rois, 1993 Hackenbroch, Yvonne English and Other Silver in the Irwin Untermyer Collection, 1969 Helft, J. Les Grands Orfevres de Louis XIII a Charles X, 1965 Solodkoff, Alexander von Orfèvrerie russe: du XVII au XIX siecle, 1981 Bernjakowitsch, Z. A./Sokolowa, T. M. Russian Silver Wares of the XVIIth - The Beginning of the XXth Century in the State Hermitage Collection, 1977 Clayton, Michael Collector's Dictionary of the Silver and Gold of Great Britain and North America, 1971 Hayward, J. F., The Courtauld Silver : An Introduction to the Work of the Courtauld Family of Goldsmiths, 1975 Hernmarck, Carl, Die Kunst der europäischen Gold- und Silberschmiede von 1450 bis 1830 (The Art of European Goldsmiths and Silversmiths from 1450 to 1830), 1978 Christie's, New York, Important Silver, Objects of Vertu and Russian Works of Art, 2002 Charles Oman, English Silversmiths Work, Civil And Domestic: An Introduction, 1965 Barr, Elaine, George Wickes: Royal Goldsmith, 1698-1761, 1980 Penzer, N. M., The Last Of The Goldsmiths, 1954 Bainbridge, Henry Charles, Peter Carl Faberge: Goldsmith and Jeweller to the Russian Imperial Court: His Life and Work, 1967 Schroder, Timothy B, The Gilbert Collection of Gold and Silver: Catalogue of Collection at Los Angeles County Museum of Art, 1988 (38)
Trinidad.- [Census of inhabitants at 31 December 1784, with addition of totals for 1785, classified by place and status (adult males and females, children and slaves, colonists old and new and indians], manuscript in Spanish, 2pp., first page with tear and paper repair, folds, browned, 308 x 215mm. and 246 x 380mm., 1784; and 8 others, manuscripts and documents relating to Trinidad, including: copy of the act of cession of the island to Great Britain, 1801; copy of the articles of capitulation between General Sir Ralph Abercromby and Admiral Sir Henry Harvey on the one hand and D. Jose Maria Chacon, Spanish Commander in Chief on the other, Puerto de Espana, 1797; legal deposition on behalf of the master of a sloop who had sailed from the island with a cargo of tobacco, 1786 etc., manuscript and documents in Spanish, v.s., v.d. (9).
18th century old master oil on canvas painting depicting a mythical scene. Depicting a nude male figure draped in a pale cloth. A second figure rests on his elbow in the background. Housed in a carved and gilt wooden frame.Sight; height: 25 1/2 in x width: 19 1/2 in. Framed; height: 29 in x width: 22 3/4 in x depth: 1 1/4 in.Condition:The colors are bold and dark. The surface is stable. There is a small repair to the canvas in the lower left quadrant. There is craquelure throughout. There are stretcher bar marks along the perimeter of the artwork. Under UV light there are small areas of inpainting throughout - due to a thick varnish it is difficult to discern the exact extent of restoration. The painting has been relined. There is light wear to the frame.
g George III (1760-1820), gold Sovereign, 1820, second laureate head right, date below, Latin legend commences lower left, GEORGIUS III D: G: BRITANNIAR: REX F:D:, rev. St. George and dragon right, incuse BP below broken lance at lower left for designer and engraver Benedetto Pistrucci, Old French garter motto surrounding, HONI. SOIT. QUI. MAL. Y. PENSE., buckle with incuse WWP for Master of the Mint William Wellesley Pole, edge milled, 7.88g (Bentley 8; Marsh 4B; S.3785C). Cleaned and polished slight traces of original lustre, dig below date on rim, possible ex-mount, otherwise fine.Calendar year mintage 931,994. The obverse Latin legend translates as "George the Third by the Grace of God, King of the Britons, Defender of the Faith." The Old French legend on the reverse translates as "Shame on he who thinks ill of it," and is the motto of the chivalric Order of the Garter founded in 1348 by King Edward III.
g George III (1760-1820), gold Sovereign, 1817, first laureate head right, date below, Latin legend commences lower left GEORGIUS III D: G: BRITANNIAR: REX F:D:, rev. St. George and the Dragon right, incuse BP below broken lance at lower left for designer and engraver Benedetto Pistrucci, garter motto surrounding, buckle with incuse WWP for Master of the Mint William Wellesley Pole, French motto HONI. SOIT. QUI. MAL. Y. PENSE., edge milled, 7.88g (Bentley 4; Marsh 1; S.3785). Worn but with devices still visible, possibly once sweated, poorCalendar Year Mintage 3,235,239.The Latin legend on the obverse translates as "George the Third by the Grace of God, King of the Britons, Defender of the Faith". The Old French legend on the reverse translates as "Shame on he who thinks ill of it".
A Golfers Gallery by Old Masters Bernard Darwin - First Edition. Hardcover, very good condition, half title, spotted, 20pp introduction, occasional foxing, 18 colour reproductions of old master paintings mounted on thick card, 11 Dutch, 7 British, leaf with suggestions on framing at rear, green marbled paper cover boards with original cord but loose and removed but can be redone, a very good copy. Country Life Ltd [1927] size: 16 x 13.5". Comes in scarce original outer box with illustrated front (Please note box has damage to edges)
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