![M`Lehose, Agnes ("Clarinda") [Robert Burns] Long autograph letter signed from Agnes M`Lehose (signed "Clarinda](http://lot-images.atgmedia.com/SR/10121/2859435/86-2012414145329_468x382.jpg)
M`Lehose, Agnes ("Clarinda") [Robert Burns] Long autograph letter signed from Agnes M`Lehose (signed "Clarinda"), to John Syme, requesting and beseeching the return of her love letters to Burns, "I have indeed, wondered at your and Dr. M`s unaccountable silence... it was so with common politeness not to answer a Lady`s letter. I am truly sorry for the cause of Dr. M`s silence... but as to your apology - it reminds me of some lines of Lord Lyttleton`s to his Lucy "She would have answered with her tears, But that she had not time"!.... I was glad however you came to the point, at last- and more so, that your opinion coincides with mine, as to the utter impropriety of these letters being given to the world at present - but, what can have impressed such an idea as that I ever conceeded the most distant intention to destroy these precious memorials of an attachment the recollection of which would warm my very soul were I to live till I was fourscore! - No, no - be assured I never will suffer one line of them to perish if I can prevent it - this I give you my solemn word of honour upon- which I trust is all the "pledge" you would desire from Clarinda. Nay, more, on condition you send me my letters, I will select such passages of our dear Bard`s letters, as well do honour to his memory.... every mind of the least taste must be gratified by any thing that flowed from the pen of him! who was indeed "his country`s glory & her shame", describing Burns`s letters to her as "not really literary - they are the passionate effusions of an elegant mind", promising to show them to Syme or Dr Maxwell when they come to Edinburgh, claiming that she too is eccentric "she too glory`s in these gifts of heaven that makes her so" and assuring Syme that the public would react with opprobium if the letters were published "you know well in what light even worthy people views a love correspondence with a married woman ? The bulk of mankind are strangers to the delicate refinements of superior minds". Clarinda promises to release for publication some of Burns letters to her "conditionally after securing my own letters" and assures Syme that if her conditions are not agreed to quickly she will feel "not at all well used", referring to a letter from Mrs Burns regarding Burns`s trustees, her feelings for Mrs Burns, the subscription in Edinburgh, her inability to help Burns`s children &c., 3pp and integral address panel, small later printed portrait of Clarinda and Burns pasted to blank margin of address panel, double glazed, 24 x 39cm., Edinburgh, 30 December - [17]96 Provenance: Note: A fascinating letter from Agnes M`Lehose ("Clarinda"), alternately entreating and demanding the return of her love letters to Burns which were then in the possession of Dr. Maxwell, following Burns`s death on 21 July 1796. Apparently unpublished. Agnes M`Lehose had left her married husband because of his cruelty and moved to Edinburgh in 1782. She met Burns on 3 December 1787 and thereupon they immediately began to exchange letters and verse, Burns addressing Agnes as "Clarinda" and she addressing him as "Sylvander". Their correspondence was short but passionate and they met for the last time on 6 December 1791, after which sent Burns sent Clarinda the moving poem "Ae fond kiss". After Burns`s death Agnes M`Lehose was naturally extremely keen to have her letters to Burns returned and six months after Burns`s death, as this letter makes clear, she is still doing everything in her power to get them back. Dr. William Maxwell (1760-1834), Burns`s doctor and friend attended Burns during his last illness, diagnosing the stabbing agonies of endocarditis as `flying gout` and prescribing sea-bathing in country quarters and horseriding, `cures` which probably hastened Burns`s end. Together with Cunningham and Syme, Maxwell became one of the Trustees who collected money for a fund to ensure that Burns`s widow and children did not want. It would appear that Maxwell had retained Agnes`s love letters to Burns for `safe keeping` as Agnes asks Syme "to exert yourself to persuade the other gentleman to restore them to me immediately... I can see no use they can be lying in Dr. M`s desk". John Syme (1755-1831), Collector of Stamps, became a friend of Burns when the poet moved to Dumfries in 1791, renting a flat on the floor above Syme`s office. He befriended the poet and in the summer of 1794 accompanied Burns on an extended tour through Galloway. He visited Burns at Brow on 15th July 1796, and again a few days later, when Burns had returned to Dumfries and was horrified at the poet`s deteriorated condition. After Burns`s death, Syme, with Dr Maxwell, organised the funeral, and, with Alexander Cunningham, worked unsparingly raising money to help the poet`s widow and children. He was one of those who urged Dr Currie to undertake his edition of Burns`s work. In a later letter, dated 9 January 1797, Agnes tells Syme "I am happy you have consented to return my letters at last , and that my pledge has pleased you.... you must pardon me for refusing to send Burns`s. I never will. I am determined not to allow them to be out of my house" (quoted in J.C. Ewing. Robert Burns`s letters addressed to Clarinda. 1921)
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A Regency brass mounted mahogany writing slope, circa 1820, of typical form, the exterior with brass stringing and banding overall, the hinged cover with centrally inset incised brass panel with armorial, each end with a recessed brass swing handle, the fully fitted interior with printed paper maker’s label for ‘HICKS. 26 Wigmore St, Cavendish Sqre.’, 17cm high, 45.5cm wide, 26cm deep
A French ebonised mantel clock with ‘boulle’ marquetry decoration, Henry Marc, Paris, mid 19th century, the circular eight-day countwheel bell striking movement stamped H’Y MARC, PARIS and numbered 17608 to backplate, the rectangular white enamel Roman numeral dial with regulation square above 12 o’clock and with repeat signature to lower margin, the ogee top case with foliate cast brass carrying handle and brass button finials for withdrawing the rising bevel glazed front panel, the front with brass and stained shell marquetry decoration around the foliate cast brass aperture surround, on ogee shaped base with confroming decoration to front and cast brass feet, 29cm high overall
A mahogany barograph, Negretti & Zambra, London, 20th century, with eight segment aneroid chamber, lacquered armature operating inked pointer for the clockwork driven paper-scale lined rotating drum, beneath five panel bevel-glazed cover, on ogee moulded base with chart drawer to apron and squab feet, 37.5cm wide. Provenance: Private Collection, London
A Charles II oak panel back armchair, circa 1680, rectangular back carved with initials ‘R.G’ and stylised tulips above a carved panel, downswept open arms carved initals ‘R.G’, plank seat, turned legs and square section stretchers, the underside with a partial inscribed label ‘The property of and loaned by .............Horeau Rabb?... Newstead Abbey...This chair belonged to Lady B.. of Lord Reypon the poet... on the..initials ‘R.G’... 102cm high, 54cm wide, 56cm deep
PRAGUE AUSTRO HUNGARIAN NINETEENTH CENTURY SILVER GILT AND ENAMELLED OBLONG SNUFF BOX, the hinged lid enameled and gilt with fruit, leaves and foliate scrolls on a black centre panel and sky blue broad border, the lip of the lid chased with flowers, plain concave sides, ribbed base, 3 1/4" x 2" x 3/4", `13` lot silver mark dated circa 1838, makers mark `MK` and crown, possibly Mathias Kral EST 500-800
A quantity of assorted costume jewellery including a pinchbeck Albert chain; faux pearl necklace; Italian souvenir micro mosaic bracelets; craved bone brooch with micro mosaic panel; French jet velvet collar pendant piece in the form of a starburst; a jet brooch in the form of a Maltese cross; a Victorian vulcanite brooch in the form of a tied knot; a large Victorian jet brooch in the form of a cameo, etc.
A framed 20th C tapestry panel depicting a lady and her beau with pet dog at her feet, sat on a garden bench within a landscape setting. Panel and frame approximately 140cm long by 53cm height. And another tapestry panel with design of 18th C revellers with stage coach and castle background, 60cm square approx (2).
A 19th century Indian oval portrait miniature depicting head and shoulders portrait of a young girl, in ornate sari and earrings, unsigned, in oak frame, 6.5x4.8cm, also a 19th century portrait miniature on ivory panel, head and shoulders portrait of a young girl, in brown and lace jacket and ringlet hair, unsigned, 6x5cm, in later mahogany frame (2)
A collection of ten WWI Great War medals, comprising casualty medal for S-6796 Private H Bishop of The Black Watch (Royal Highlanders), Private Herbert Bishop was killed on the 13th October 1915 and his memorial is at Loos, panel 78-83, also another casualty medal awarded to 31013, Private J Beattie of The Royal Scots, Private John Beattie was killed on the 26th September 1917 and his memorial is at Tyne Cot, panel 11-14 and 162, this lot is accompanied by some research (illustrated)
A George V/George VI Art Deco hallmarked silver and enamelled ladies compact, with green and cream external geometric panel decoration upon an engine turned body, by James Dixon & Son, Birmingham 1936/37, also an early 20th century Continental 925 silver rectangular ladies compact, indistinct factory mark to clasp and with chased floral and engine turned exterior (2)
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