Bodington (George). An Essay on the Treatment and Cure of Pulmonary Consumption, on Principles Natural, Rational, and Successful, With suggestions for an improved plan of treatment of the disease amongst the lower classes of society; and a relation of several successive cases restored from the last stage of consumption to a good state of health, 1st edition, 1840, BMI stamp to title, a little spotting and a few pencil marks, erratum slip tipped on to title, presentation inscription from Mrs Bodington to the BMI inscribed to half-title, original printed boards, some soiling and wear, upper cover detached, 12mo, preserved in purpose-made paper chemise and morocco clamshell book box. Rare. Bodington (1799-1882) practised in Birmingham and later in Sutton Coldfield. In this book, which was poorly received, Bodington was among the first to propose sanatorium treatment for pulmonary tuberculosis - fresh air, a nourishing diet and rest, followed by gradual exercise. G-M 3223. (1)
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Bermuda. 1941 (Sept.) 10/- line perf. Unmounted mint marginal block of 4, ex Ulrich and with his neat pencil notes on the reverse. FFs no.11A, B, 12B major break in frame left of upper left scroll, HPFs no.11a, b, 23 broken right Crown support, 24a large break in lower right leaf. Any multiple of this stamp is difficult and this block has several of the more important flaws. SG 119b (£2000)/CW 20
St Helena. 1863 1d lake, bar 16½mm, with double surcharge. Pen-cancelled with near-vertical red ink line and horizontal black ink line. RPS Certificate (1956) with submitter’s name excised, ‘has a closed tear and thinning’. On the reverse, a pencil notation ‘1955 Adams’. Ex Donne and Justine, where it was offered without the Certificate. SG 3a (£4250)
Tunnicliffe (Charles Frederick, 1901-1979). Drawing of a Wheatear, pencil drawing, boldly signed in ink by artist below image, 80 x 100mm, mounted, together with Cusa (Noel),Tunnicliffe`s Birdlife, 1985,numerous colour illusts. throughout, orig. cloth gilt, d.j. slightly soiled, 4to, with Fuller (R.J.),Bird Habitats in Britain, 1982,numerous b & w illusts. throughout, orig. cloth gilt, d.j., 8vo, plus Bannerman (David & W. Mary),The Birds of the Balearics, 1983,numerous colour and b & w illusts. throughout, orig. cloth gilt, d.j. price clipped, large 8vo, and Inskipp (Carol & Tim),A Guide to the Birds of Nepal, 2nd. ed., 1991,numerous colour and b & w illusts. throughout, orig. cloth gilt, d.j., large 8vo, together with twenty-eight others similar, plus a broken run of twelve vols. of the Annual Report of The Wildfowl Trust and thirty vols. of "Bird Notes` (approx.70)
* Pictures & Prints. Warland (A.W., 20th century), Conster Manor, Brede, pencil drawing on paper, signed and titled, 180 x 270mm, together with another signed drawing by the same hand titled Romney Farm, and five other unsigned drawings including West Malling and Littlehampton by the same hand?, plus other miscellaneous including a hand coloured Rowlandson aquatint titled ÒGet Money Money Still, and then let virtue follow, if she willÓ (30.8 x 23cm), two Chinese ricepaper paintings of a a boat and sea creatures, a rustic engraving printed in colours signed E. Stodart, a large pencil and crayon drawing of a gipsy woman (61 x 44cm), watercolours of army regiments, etc., many framed (approx. 40)
* Prints & Drawings. A mixed collection of approx. twenty watercolours, drawings, prints and engravings, mostly 19th & 20th century, including a full-length pencil study of a boy, attributed to John Haynes Williams (1836-1908), 285 x 105mm, two 19th-century lithographs with original hand colouring depicting church interiors in Venice (Altar of the Virgin, St. Mark`s Church & Choir of the Frari), c. 1840, each titled in contemporary mauscript to lower margin, image size 305 x 410mm, mounted, two photographic reprints of views in Steep Street, Bristol, by Hugh Owen, mid 19th c., plus a watercolour of an English cottage garden scene with an elderly bonneted lady on the arm of a young girl, with white dog, in the manner of Kate Greenaway, initialled in ink to lower right hand corner KP, 180 x 128mm, etc., mostly framed and glazed (approx. 20)
Simpson (William). The Seat of the War in the East, 1 vol. (only), pub. Paul & Dominic Colnaghi & Co., 1856, decorative litho. title, thirty-nine (only) uncoloured litho. plts. occ. spotting and marginal closed tears throughout, contemp. qtr. calf, boards detached, spine partially lacking, stained, rubbed and worn, folio, together with Rudder (Samuel),A New History of Gloucestershire, 1779,lacking plates and maps, later qtr. calf gilt, rubbed at extrems., folio, with another two copies similar, together with, Scrap Book, n.d., c.1860,large scrap book containing numerous engravings of topographical views, religion, genre and portraits, with original watercolours and pencil drawings, lacking some leaves, contemp. morocco gilt, rubbed and worn, elephant folio, plus, Harcourt Williamson (Mrs. F. ed.),The Book of Beauty, pub. Hutchinson & Co., 1902,numerous uncoloured gravure portraits, limited edition 90/300 signed and dated by editor, orig. pubs. green cloth gilt, large 4to, and The Several Plans and Drawings Referred to in the Third Report from th Select Committee upon the Improvement of the Port of London, 1800,eleven (of 21) folding maps and plans including several with contemp. hand colouring, occ. spotting, later half calf gilt, large folio, plus Beattie (William), Scotland Illustrated in a Series of views taken expressly for this work, vol. 2 (only), pub. George Virtue, 1838,numerous uncoloured engravings, some spotting and staining throughout, lacking some plts., several leaves detached, lacking boards and spine, 4to, with Benezit (E.), Dictionaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, new ed., 8 vols. (complete), 1966,numerous illusts. throughout, contemp. cloth gilt, 4to, and another twenty-two defective volumes similar, including several folio or elephant folio. Sold as a collection of prints and maps, not subject to return. (40)
* Slavery & racism. "Alligator Bait`, c.1897, b & w photograph of nine negro children, printed title in separate mount aperture below image, 140 x 520mm, mounted, framed and glazed. A disturbing social document indicative of the casual and ingrained racism which was so very prevalent in the southern states of America. There are contemporary written accounts of black children being used as bait for alligators but the term was more widely used as a derogatory description for all black children. The state of Florida used variations of this image for over fifty years on souvenirs and postcards and as a marketing tool for various products including fans, liquorice drops and stain remover. The alligator with a child in its mouth was also used in a three dimensional form as a music cover, bottle opener and a pencil holder. That an American state should choose to promote and market itself to tourists with such an overt violent and racist conceit is extraordinary but is perhaps all too indicative of the casual insidious racism which shamed the southern United States well into the 20th century. (1)
Topographical Drawings. Three sketchbooks of watercolours and drawings by Colonel William Herries and Mary Frances Crompton of Esholt Hall, c. 1820, containing a total of approx. sixty pencil drawings and sketches plus fourteen watercolours including some monochrome, some pencil sketches double-page, numerous other sketches and occasional notes to pages faces, views include Isle of Wight, Yorkshire and Devon, ownership names to front pastedowns, contemp. red half roan over marbled boards, some wear, one with covers detached and backstrip deficient, oblong folio (21 x 28cm and sl. smaller) (3)
* Zundt (Mathis, 1498-1572). The Siege of Gotha (Large Plate), etching, trimmed to plate margin, encroaching on border to left hand margin, 26.7 x 36.5cm (10.5 x 14.5ins), corner-mounted, together with Amman (Jost, 1539-1591). A collection of five military etchings, including "various military ranks`,`the semicircular camp by a river`, "an army on the march with a burning castle`, "the entrenched camp`, "ballistic diagram`, each hinge-mounted and captioned in pencil, to mount, 275 x 370mm (11 x 14.5ins) The first work formerly in the Drugulin Collection. (6)
Scrap album. A large early-mid. 19th century scrap album containing original drawings, prints and engravings, photographs, and cuttings, approx. 100 coloured paper leaves, with numerous mounted drawings, engs., cuttings, etc., incl. a pencil drawing of Shaugh Bridge, Devonshire, dated 1828, a coloured pencil drawing of a gentleman riding a Òhobby-horseÓ bicycle, a pencil drawing entitled "The Bridge in Dalham Tower Park, Westmoreland` dated 1853, a pencil sketch of rustic cottages in Dolgelly, numerous engs., incl: "To the Queen`s Private Apartments, the Queen and Prince Albert at Home`, with flaps for doors, pub. Dean; "Marks`s Characters in the Elephant of Siam & the Fire Fiend`; "Much Ado About Nothing!!!` pub. Tho. Mclean, 1828, an advert. for the Thames Tunnel, and a hand-col. litho. of the "Entrance to the Thames Tunnel`, by B. Dixie, 1836, some albumen photos, and a Specimen of Cyanotype of The Bristol Royal Infirmary and New Chapel, 1859, marbled endpapers, orig. red half morocco gilt, rubbed, sl. wear to extrems. in one or two places, folio. (1)
![Clare (John). [Poems Descriptive of Rural Life and Scenery, 2nd or 3rd ed., 1820], pp.xxiii(Introduction)+[i]+220+[4](pubs. a](http://lot-images.atgmedia.com/SR/10729/2862311/410-2012716101019_468x382.jpg)
Clare (John). [Poems Descriptive of Rural Life and Scenery, 2nd or 3rd ed., 1820], pp.xxiii(Introduction)+[i]+220+[4](pubs. ads.)+[v]-viii(Contents), lacking half-title and title-page (never present?) and with original ms. ownership name "Frederica S. Davy Sepr. 1820` (probably Frederica Sara Davy, 1802-1889) on first printed leaf (b1), i.e. p.[i] of Introduction, 4pp. Contents misbound at rear, foxed, front free endpaper with ink stamp title, ink stamp book ticket of E. Goodfellow Helpston above, and similar ticket stamped "Life of Clare` on front pastedown, hinges split, contemp. half calf gilt, joints cracked & extrems. rubbed, large 12mo, together with The Village Minstrel, and Other Poems, 2 vols., 1st ed., printed for Taylor and Hessey, 1821, half-titles present, eng. port. frontis. (offset to title), first vol. with intermittent foxing, second vol. with extensive pencil annotations by Mrs. Emmerson, many initialled "E.L.E.`, both vols. with Goodfellow`s book ticket on front free endpaper, covering ms. signature of Edward Goodfellow dated 1888, untrimmed, orig. pubs. boards with printed title labels to spines, joints cracked, vol.1 spine slightly torn & worn, with slight adhesive residue, large 12mo, plus The Shepherd`s Calendar; with Village Stories, and Other Poems, 1st ed., John Taylor, 1827, half-title present, eng. frontis., frontis. and title-page foxed, pubs. ad. leaf at rear, front free endpaper becoming detached and with Goodfellow`s book ticket, hinges split, rough-trimmed, orig. qtr. cloth with printed paper title label to spine, large 12mo, plus The Rural Muse, 1st ed., Whittaker & Co., 1835, eng. frontis. and title-page (stained), frontis. with Goodfellow`s book ticket on reverse, pubs. ad. leaf at rear, prelim. leaves lightly foxed, rough-trimmed, endpapers foxed, orig. blind patterned cloth, with printed title label to spine, some damp soiling to upper board, 8vo. A set of John Clare`s scarce first four works in original condition, and with intriguing provenance. Authoress Eliza Laura Emmerson, whose annotations appear in the second volume of "The Village Minstrel`, was introduced to John Clare by Lord Radstock. At their first meeting Mrs. Emmerson burst into bitter laments at the rustic poet`s Òdesolate appearanceÓ and wept that Òso much genius and so much povertyÓ should go together. Clare was stung by her reaction, which compounded the angst he felt about his labourer`s garb as he moved amongst the smart and fashionable of London. However, subsequent interviews modified Clare`s first impression of Mrs. Emmerson, who became a close friend and helper of the "Northamptonshire Peasant` as she called Clare. Indeed John Clare became quite obsessed with Eliza at one point, until their relationship cooled, writing her scores of passionate letters, calling her his Laura, addressing verses to "E.L.E.`, and asking for her portrait. Mrs. Emmerson is full of praise for Clare`s poetry in her annotations to "The Village Minstrel`, with notes such as: Òfull of sober Christian feeling. I think like you my dr. Clare, E.L.E.Ó; ÒAn astonishing effort this - for such a man as Clare! - full of lonely, and sweet feelingÓ; ÒThis lovely poem was first written to me, in a Letter from the Author. E.L.E.Ó; ÒThou art indeed the Inspired poet of Nature my dear friend! - E.L.E.Ó. The subsequent ownership of E. Goodfellow, Helpston, is curious, as the last private owner of John Clare`s cottage in Helpston was owned by a Mrs. Robin Goodfellow, who sold the property to the John Clare Trust in 2005. See Frederick Martin, The Life of John Clare, 1964. (5)
Stone (Reynolds). Reynolds Stone Engravings, With an Introduction by the Artist and an Appreciation by Kenneth Clark, Curwen Press, 1977, numerous colour and b & w illustrations, original blue buckram, (spine faded), slipcase, folio. Limited edition, 56/150 signed by the artist, with an original loose wood-engraving of Waterfall, Prescelly Mountains, South Wales, signed by the artist in pencil. (1)
Rubaiyat of Omar Khayyam. Pogany (Willy, illust.). Rubaiyat of Omar Khayyam; The First and Fourth Renderings in English Verse by Edward Fitzgerald, pub. George Harrap, 1930, number 737 of 750 signed copies printed for England, additional etched frontispiece signed in pencil, twelve mounted colour plates, b & w illustrations, t.e.g. remainder rough-trimmed, original full turquoise morocco with gilt floral roundel to upper cover, contained in original card book-box (darkened with some edge wear), 4to, together with The Whittington Press. The Mirror & the Eye; Rubaiyat of Omar Khayyam...illustrated by Richard Kennedy, 1984, number 85 of 126 copies signed by the artist and translator, lithograph plates, t.e.g. remainder rough-trimmed, original quarter vellum, contained in original slipcase, folio, and Dulac (Edmund, illust.), Rubaiyat of Omar Khayyam, Hodder & Stougton, [1909], mounted colour plates, decorative endpapers, original gilt decorated cream cloth, slightly rubbed, 4to, plus Fish (Anne Harriet, illust.), Rubaiyat of Omar Khayyam, Bodley Head, 1922, colour plates heightened in gold and silver, decorative endpapers, original two-tone cloth gilt, rubbed to extremities, 4to, and Bull (Rene), Rubaiyat of Omar Khayyam, Hodder & Stoughton, [1910), mounted colour plates, illustrations to text, original light-brown cloth blocked in red and blue, a little fraying to extremities, 4to, plus Vedder (Elihu), Rubaiyat of Omar Khayyam, Boston & London, [1884], b & w lithograph illustrations, original decorated cloth, faded and some edge fraying, folio, plus a collection of other copies of the Rubaiyat of Omar Khayyam including many illustrated editions (40)
A good silver plated pen and pencil box desk ornament in the form of a Zeppelin C1910. Fluted body with 4 engine nacelles, ladders and gondolas, tail fins, mounted on 4 legs, the top opening and bearing an applied medallion of “Graf Ferd. V Zeppelin”, head and shoulders, in wreath. 40cm overall, height 13cm. GC. Plate.3
A plated vesta case. The lid impressed with head and shoulders of Graf Zeppelin over Friedrichshafen in the distance, name below (plating worn). Together with a plated miniature note pad, white metal cover with applied Zeppelin (Eiffel Tower roundel to front, pencil in clasp. 50x35mm. Basically GC (heavy tarnish patches). (2). See website.
3 original pencil sketches of the encounter in February 1916, between the trawler “King Stephen” and the sinking Zeppelin L19. No. 1 showing the trawler, no 1174, alone, and & No. 2 the trawler stops behind the sinking Zeppelin while the captain calls out to the Germans desperately clinging on. No. 3, the trawler steams away leaving the Zeppelin and crew to their fate. Sketch No. 2 is initialled by the artist, “ND 1916”. Each sketch 21x26cm. Well mounted and framed en-suite in gilt and black. VGC. Plate.9. Note: For a full account of the incident see, “The Zeppelin in Combat”, by Douglas H Robinson 1996. Handwritten copy included in lot.
A well-executed pencil sketch of an early German Zeppelin in its hanger, viewed from the rear, with surrounding rigs, workers, etc. Signed with caption (unclear). Also a black and white print titled “M. Dupuy de Lomes new navigating balloon – the ascent at Fort Vincennes with date in pencil 1872. Well mounted and framed en-suite. 47x39cm. VGC. (2). Plate.9
A sepia watercolour painting of the LZ37, flying the Imperial German flag, above its hanger and distant landscape. Inscribed “LZ37 Ober’lt Otto van der Haegan 1915 Haar”. Mounted and framed in maple. 37x48cm, Pencil note on the back reads “RNAS No. 16 Sunday 6th June 1915 WP/CPBNS Bradbury Down by S/Lt Weanearh 1 Sqrn. DKS An Arnold”. GC. Plate.10
A small oval oil painting of an early French airship. Pencil note on back “Albert Santos-Dumonts Dirigible No 6 with gas searchlight 1901 Paris”, 115x80mm. Plus a small watercolour of British MTB31 with airship above, white cliffs and warship in the background. Marked “Dover”, 65x120mm. Both mounted and framed in gilt. VGC. (2). See website.
AFTER JOHN SINGER SARGENT.Portrait of a lady, dressed in black, engraving by William H.Ward, signed by the artist, and inscribed in pencil `with Jill Evans Best Wishes`, 20 x 4 in; one one similar portrait engraving ; and a mezzotint by J.R.Smith (after George Romney) depicting Miss Cumberland;three (3)
Louis Icart (1888-1950 French) ``Eve``, 1928, signed in pencil lower center: Louis Icart, with pencil number lower left: A/266, colored etching on paper under glass, oval plate size: 13.75`` H x 19.25`` W Note: W.R. Holland, ``Louis Icart: The Complete Etchings``, Atglen, PA, 1990, p. 166 fig. 353. Note: Printed upper left: Copyright 1928 by L. Icart, Paris, and with Icart`s `Windmill` embossed seal lower left. Condition: Visual: Toning to the paper. In the original non-archival mat. Not examined out of the frame. Your bid indicates acceptance of our Conditions of Sale. AS-IS. ALL SALES FINAL
Two hand-colored photographs by Heyn, Omaha, NE `Afraid of Hawk`` and ``Kills on Horseback``, ``Afraid of Hawk`` with the printed name upper right and the photography studio name, copyright, address and date twice lower right: 1900, ``Kills on Horseback`` with a pencil inscription on the lower center of the board margin, 2 pcs, each photograph size: 13`` H x 10`` W Note: James Kills on Horseback and Albert Afraid of Hawk, both of the Oglala Sioux tribe, were rough riders in the Buffalo Bill Wild West Show prior to 1900. Afraid of Hawk died of food poisoning in 1900 in Danbury Connecticut and Buffalo Bill paid for his burial there. The burial plot was recently rediscovered and researched, and Afraid of Hawk`s remains will be returned to the Oglala Lakota Sioux Nation this year. Provenance: Collection of the Estate of a Resident of Artist Alley, Champion Place, Alhambra, CA, prior to the 1960s. Condition: Each visual: Toning throughout. The photographs laid down to the studio`s backing boards. With pin holes in the corners of the photograph. Extensive soiling, staining and surface scratches to each image. Unframed. Your bid indicates acceptance of our Conditions of Sale. AS-IS. ALL SALES FINAL
LeRoy Neiman (1921-2012 New York, NY) ``RFK Memorial``, 1972, signed in pencil lower right: Leroy Neiman, numbered in pencil lower left: 203/250, colored etching on paper under glass, plate size: 20`` H x 17`` W Provenance: Estate, West Los Angeles, CA. Condition: Visual: Generally good condition. The paper slightly toned and with a few scattered soft handling creases in the margins. Not examined out of the frame. Your bid indicates acceptance of our Conditions of Sale. AS-IS. ALL SALES FINAL
Marino Marini (1901-1980 Italian) ``Spartaco (G. A184)``, 1975, signed in pencil lower right: Marino, numbered in pencil lower left: 86/175, publishers` blindstamps lower left, colored etching on paper, plate size: 14.25`` H x 19.25`` W Literature: Published by Crommelynck Freres Imprimeur, Paris, in conjunction with Transworld Art. Provenance: Private Collection, Los Angeles, CA. Condition: Visual: Generally good condition. Hinged to the back mat and framed floating. With full margins. Your bid indicates acceptance of our Conditions of Sale. AS-IS. ALL SALES FINAL
R. C. Gorman (1932-2005 Santa Fe, NM) Two women in a Southwest landscape, signed and dated in pencil lower left: R.C. Gorman 1988, numbered in pencil lower right: 56/225 and with artist`s blind stamps lower center, unframed colored lithograph on paper, paper size: 30`` H x 38`` W Provenance: Private Collection, Stevenson Ranch, CA. Condition: Visual: Generally good condition. Unframed as stated. No tape remnants verso. Your bid indicates acceptance of our Conditions of Sale. AS-IS. ALL SALES FINAL
A 1924 Paris Olympic Games postcard signed to the reverse by 11 Great Britain athletes including gold medallists Harold Abrahams, Eric Liddell & Douglas Lowe, additional signatures including silver medallist George Webber, bronze medallist Edward Toms and Aubrey Montague who together with Abrahams & Liddell featured prominently as characters in the 1981 movie Chariots of Fire, the image showing the Great Britain team parading at the Opening Ceremony, signatures in ink and in pencil, the postcard with a sharp vertical crease
Helen Wills (1905-1998) SELF PORTRAIT signed in pencil, an etching exhibited in the 1932 Olympic Arts Competition and Exhibition in Los Angeles, exhibition label verso, mounted together with a cut signature HELEN WILLS MOODY dated from the same year 1932, the etching 15 by 10cm., 6 by 4in.; sold together with an official daily program for the 1932 Los Angeles Olympic Games, 6th August, carrying two advertisements for the Olympic Arts Competition and Exhibition and map (2) Helen Wills, known as Helen Wills Moody after her marriage to Frederick Moody in 1929, won a total of 19 Grand Slam singles tennis titles between 1923 and 1938, comprising four wins in the French Open, eight at Wimbledon, and seven in the US Open, with twelve doubles and mixed doubles, a total of 31 Grand Slams. Wills also won two Olympic gold medals in Paris in 1924 (singles & doubles), the last time lawn tennis was included in the Olympic programme until its revival in 1988. Disappointingly, therefore, when the Olympic Games came to her native California in 1932 she was unable to compete even though she was still very much at the peak of her powers winning the French and Wimbledon titles earlier in the year. Helen Wills’s participation in the Games, however, was achieved through her artistic talent. In 1928 Helen Wills had illustrated her own book ‘Tennis’ with a series of etchings of tennis players which included a self portrait head on the frontispiece with three of her demonstrating strokes of play. In 1932 her artistic exploits extended to entering her work in the Olympic Arts Competition and Exhibition. The world renowned artist Diego Rivera (1886-1957) was introduced to Helen Wills in November 1930 and later asked her to sit for the head of the central figure of ‘California’ for the fresco in the San Francisco Stock Exchange.
Signed photographs of the American Olympic champion divers Pete Desjardins and Harold ‘Dutch’ Smith, portraying both divers in competition, signatures in ink, laid down on card with handwritten description in pencil, both 5 by 3 1/2in. Peter Desjardins created Olympic history at Amsterdam in 1928 when winning the gold medal in both the high platform and springboard competitions. ‘Dutch’ Smith won gold in the high platform at the 1932 Games in Los Angeles.
A complete set of 16 daily Olympic programmes for the 1936 Berlin Olympic Games, 1st-16th August; sold together with Olympische Jugend Festspiel programme 1st August, Programm der Olympiade Flugveranstaltungen (3 Olympic airshows); and the Address of Count Baillet Latour at the Festival of the Hitler Youth, 1st August, good/very good, some pencil notations (19)
A VIP edition of the 1956 Stockholm Olympic Equestrian Games originally owned by Harry Llewellyn the British gold medal winning horseman from the previous Summer Games, presented by The British Horse Society to Llewellyn in his capacity as Chef De Mission for the British team at Stockholm and mailed to him c/o The Grand Hotel, Stockholm, the VIP edition contained within stiff blue cloth covered boards, signed in pencil by Llewellyn on the front cover of the programme, and contains his personal annotations including records of faults during the dressage section, the inside back board bears a record of an appointment aboard the Royal Yacht Britannia, moored at Kastellholm Island, staining to boards
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