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Lot 211
An original screen used movie prop costume helmet from ' Timeline ' ( 2003 starring Paul Walker, Gerard Butler etc). Made of plastic painted to look like metal, the helmet features very realistic detailing, and moves exactly as the real helmet would. Foam padding to interior. Display some signs of wear from production use, but generally good condition. Rare. With certificate.
Lot 220
Two vintage 1960's Beatles concert programmes / brochures. Comprising: a rare original vintage 1960's ' The Beatles Show ' 1963 programme from the Odeon, Weston-Super-Mare in Somerset, where they played six consecutive nights in July of that year. Along with an original ' The Beatles Show ' silver-fronted programme, from the Bristol Hippodrome (likely from their next visit the year after). Centrally folded. Retains its rare ' Coming Soon ' type leaflet for the next show at The Colston Hall including: Billy Fury, Marty Wilde and others. Likely one of the only programmes still retaining this slip-in leaflet from Bristol.
Lot 228
A rare original ' Official Beatles Fan Club ' Christmas Flexi Disc 33 1/3 record ' Another Beatles' Christmas Record '. c1964. Cardboard cover featuring images of the Fab Four with fan club logo to top. With it's original ' Merry Christmas ' gatefold insert present. Appears unused, and generally excellent condition. Rare.
Lot 250
A charming 1940's school girl's exercise book, belonging to a Pat Truscott of Horfield, Bristol. The exercise book is filled with various poems, verses and other related school work. Laid within the album are two letters from noted poets / short story writers, who responded after being sent ' Pat's Poems '. The first letter being from Walter de la Mare and reads, in part, 'many thanks...for letting me see a copy of PAT'S POEMS. That she should have written so much and have taken so much pains with what she has done at the age of eleven is certainly remarkable.' The letter then goes on with some words of encouragement, and is signed by de la Mare in fountain pen to it's end. His personal address is typed to the top. Over the page is another laid-in letter by Enid Blyton - fully handwritten in ink, with her address to the top of the headed paper. In part, she writes, ' Dear Mr Lewis, Thank you very much for Patricia's Poems which are certainly very good for her age...I am sure she thoroughly enjoys writing them. Give her my love and best wishes '. A printed pamphlet of ' Pam's Poems ' is also included loose within the book. A charming and fascinating wartime child's book. Rare.
Lot 73
A rare and important mid 19th Century Victorian Markwick and Markham of Borell London Ottoman Empire Turkish Market full hunter silver double cased Verge movement pocket fob watch having a silver engraved decorated case with white enamel face and signed dial. The gilt movement signed and numbered 25679. Hallmarked for London 1842 watch case by John Phillips. Weighs 64.8 grams. Face measures 30mm wide. Case measures 40mm across without bale.
Lot 59
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)ROWING BOATS BY A HARBOUR QUAY, CONCARNEAU Oil on panel, also painted verso 'Fishermen on the quay'26.5cm x 35cm (10.5in x 13.75in)Note: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'
Lot 61
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)CONCARNEAU FERRYMAN 1894 Signed with a monogram, pastel40cm x 55cm (15.75in x 21.75in)Note: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'
Lot 62
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)SOUTH OF CONCARNEAU Signed, pastel on buff paper24cm x 31cm (9.5in x 12.25in)Note: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'
Lot 63
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)BULB PLANTING IN THE TUILERIES GARDENS, PARIS Signed with a monogram, pastel23.5cm x 32cm (9.25in x 12.5in)Note: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'
Lot 64
DERWENT WOOD (BRITISH 1871-1925)BUST PORTRAIT OF ROBERT BROUGH Signed, inscribed and dated 1904 in the cast, bronze23cm (9in) highNote: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'Provenance:This reduction bronze is believed to be unique and was specially commissioned by John Singer Sargent from Derwent Wood as a gift to Lady Maude Messell (1875-1960 ) in memory of the artist.By decent to Lord Anthony Armstrong Jones and consigned to benefit the National Trust acquisition of Nymans House.Neil Wilson, Campbell Wilson Fine ArtPrivate Collection, ScotlandThere are 3 known full size versions; National Gallery of Scotland, Aberdeen Art Gallery, and the third is believed to be in a private collection in the US.
Lot 125
EAMES EA207 CHAIRS 1957 Italy ICF de Padova Polished aluminum, leather 84 x 58 x 59 cm Four original chairs based on the design of Charles and Ray Eames. Premium Leather, with polished aluminum swivel. Its timeless design and extreme comfort make it suitable as a dining chair or desk chair. Magdalena de Padova purchased a license to produce the chairs directly from Charles and Ray Eames, and the chairs were produced at her furniture company, ICF De Padova. The chairs are now extremely rare, as a very limited number were produced and the producer’s license was limited to the Italian market. Today the chairs are produced by Vitra.These chairs are in excellent condition, with a slight patina (inconspicuous scratches), cleaned.
Lot 13
A BIEDERMEIER GLASS CASE Cca 1830 Austria Vídeò Cherry and ash, glass, mirror 164 x 123 x 48 cm This exceptionally designed Biedermeier glass case is a rare specimen with respect to the use of rounded glass on the sides. The excellent workmanship corresponds to the famous Vienna workshop Danhauser. The inner walls feature several rows of mirror panels.
Lot 74
JAN SLAVÍČEK 1900 - 1970: FROM THE FRENCH RIVIERA 1925 Oil on canvas 54 x 96 cm Signed lower left: "Jan Slavíček" This is an original, enchanting and very rare work by Jan Slavíček, an artist who is one of the characteristic exponents of the generation born around 1900. This generation brought an avant-garde spark and a new sensual relationship towards reality to Czech art. As PhDr. Rea Michalová, PhD. explains in her expert assessment, “Slavíèek’s oeuvre is divided into landscape art, still lifes, and a number of smaller as well as monumental paintings of Prague. In his landscapes he drew inspiration from the Eagle Mountains (Orlická Rybná) and his frequent trips abroad. This painting represents one of the brilliant results of Slavíèek’s residence in Cagnes-sur-Mer on the Côte d'Azur in the spring of 1925. This was the first of the famous foreign tours undertaken by Otakar Nejedlý’s landscape painting class. (...) It is beautiful evidence of the crystallization of Slavíèek’s artistic style, in the spirit of his belief that ‘the greatest poetry and beauty is stored in facts, in nature, in reality – it is only necessary to discover it there and know how to express it in a painting’. In France the artist fully surrenders to the charm of Mediterranean nature, but he tames his intense painterly temper with artistic order, fully balancing matter and graduated plains of terrain. The refined landscape format gives full voice to the motif he has chosen, captured with a mastery of color and application that is reminiscent of the French classics Corot, Courbet, and especially a painter current at the time, André Derain. From the French Riviera is an immensely beautiful work by Slavíček, exuding inner peace and human harmony with a landscape of ‘almost magical color … and pious devotion’ (J. Slavíček).”Restored.
Lot 77
FREDERICO KROMKA 1890 - 1942: COMPOSITION 1929 Mixed media 30 x 40 cm Signed bottom left: "F. Kromka 1929"; Galerie Romanet sticker on back This geometric composition of triangles is a play with forms, here transcending the painting and using several layers of materials to achieve the illusion of space. It is a rare example by this artist with Czech roots. Frederico Kromka lived and worked in Paris, where he associated with Marc Chagall, Max Ernst, and Georges Kars and was a part of the Montparnasse art community. In 1942 he was deported to a concentration camp. In 2007 his work was discovered at Montparnasse Déporté: Artisti Europei de Parigi al Lager (City of Turin in cooperation with Musée du Montparnasse).
Lot 130
NO RESERVE Poetry.- Bruce (James, traveller).- Wolcot (John), Peter Pindar". A complimentary epistle to James Bruce, Esq. the Abyssinian traveller, first edition, printed for G. Kearsley, 1790 § Addison (Joseph) Poems on several Occasions, Paris, printed by Didot the eldest; and sold by J. N. Pissot, Barrois, junior. Booksellers Quai des Augustins, 1780; and 15 others, Poetry, including Croker on the Irish Stage, with his and W.H. Ireland's signatures pasted in, v.s. (17)⁂ The first mentioned is a satire on Bruce's huge five-volume Travels, which Wolcot, along with Walpole and Johnson, considered a tissue of fabrications. The second mentioned is a rare imprint, with ESTC recording only three copies, of which none in the US.
Lot 131
NO RESERVE Trials.- The life, trial, and execution, of Henry Weston, who was executed, before Newgate, July 6, 1796, for forging the name of Patrick Tonyn to a power of attorney with intent to defraud the Bank of England of £5000...with some account of the life and trial of John Roberts, his fellow-sufferer, trimmed, affecting text to varying degrees, modern marbled wrappers, 8vo, Printed for Robert Turner, [1796].⁂ Exceedingly rare, with ESTC recording only a copy at Harvard Law Library.
Lot 169
NO RESERVE Dibdin (Rev. Thomas Frognall) An Introduction to the Knowledge of Rare and Valuable Editions of the Greek and Latin Classics..., 2 vol. in 1, fourth edition, facsimile plate and tipped-in illustration, bibliophilic bookplate of William Bateman by Fothergill to front pastedown, publisher's advertisement for the volume tipped-in, a very little browning, contents separating a little, 1827 § "Philalethes". A Letter to the Reverend Master of Trinity-College in Cambridge, Editor of a New Greek and Latin Testament, by J.Roberts, bound with 3 others, woodcut initials and head- and tail-pieces, some browning and soiling, some ff. uncut, others erratically cut with headlines trimmed, each 1721, first contemporary diced calf, second 20th-century boards, second soiled and marked, joints splitting a little, first a little worn; and a bound volume of numbers I-VI of Useful Transactions in Philosophy, 8vo & 4to (3)Provenance: second: John Sparrow (bookplate)
Lot 61
Marriage.- Dolce (Lodovico) Paraphrasi nella Sesta Satira di Givvenale: nellaque si ragiona delle miserie de gli huomini maritali...Lo Epithalamio di CA-Catullo nelle nozze di Peleo & di Theti, italic type, initial spaces with guide letters, stamp erased from lower corner of title, causing some thinning of paper, lower corners of C1 repaired, affecting a few letters, foxed, occasional staining, 18th century vellum, red morocco label to spine, 8vo, [Venice], [Curtio Navo & brothers], 1538.⁂ Rare first edition of one of Dolce's earliest books, which contains three works on marriage. The third work is a paraphrase of Catullus 64, his longest poem, which concerns the marriage of Peleus and Thetis. It is one of the earliest translations of Catullus into the vernacular. The first work is by Juvenal and the second an original by Dolce. In his dedication to the painter Titian the author talks about how the artist depicts the spirit and soul of his subject with brush and paint in the same excellent way that Juvenal does with his pen. Provenance: shelf-mark 'B IIII 52' to foot of title.
Lot 477
* DAPHNE CONSTANCE ALLEN (BRITISH 1899 - 1985), THE SCOTTISH KING AND THE THREE WITCHES FROM ''THE SCOTTISH PLAY'' watercolour on paper, signed 37cm x 27cm Mounted, framed and under glass Note: Born in London, Allen was undertook training from an early age from her parents - her father, Hugh Allen, himself, was a recognised artist. This childhood tutelage provided Allen with considerable opportunity to develop as an artist and her first exhibition occurred at the tender age of 13 and she remains one of the youngest artists to exhibit with the Society of Women Artists. As a child, suites of Allen's illustrations were published in two illustrated books, A Child's Visions and The Birth of the Opal. At the age of 17, a third book including her illustrations was published, The Cradle of Our Lord and in her adult life, a further very rare book including her illustrations was published, The Silver Birch Tree. Allen also contributed illustrations of fairies and religious subjects to a number of magazines, including The Illustrated London News, The Sketch and The Tatler. Daphne Allen's work rarely appears at auction but a set of four 6 x 6 inch watercolours (Spring, Summer, Autumn, Winter) sold at Sotheby's London on 12th June 2003 lot 210 for £10,000 (hammer).
Lot 1033
Royal and Ancient Golf Club St Andrews Trilogy - "Challenge & Champions 1754-1883" first published in 1998 by John Behrend and Peter Lewis; "Champions & Guardians 1884-1939" first pub'd 2001, by Behrend, Lewis, and Mackie, and "Traditions & Change" first publ'd in 2004 by Donald Steel and Peter N Lewis. All re-published in 2015 for R&A members only and each volume limited to only 500. This rare complete set comes in a scarce Royal & Ancient Golf Club of St Andrews blue cloth slipcase with title to spine- all with their original dust jackets - hence (VG)
Lot 1049
Extremely rare Anderson Anstruther Presidents water iron track iron c.1875 - heavy track iron with oval hole to the centre c/w stout blacksmith oval hosel. Faint makers stamp mark to the toe end rear of the head. Note See Jaime Ortiz-Patino Auction lot no 307 - reputedly only 2x known in private collections
Lot 1050
Rare Willie Wilson St Andrews heavy Anti Shank water iron c.1890 - featuring 2x pierced central bars across the face - with makers details stamped to the hosel - c/w the original hide grip with underlisting Note See Jaime Ortiz-Patino Auction lot no 308 please note the correct description with regards to the maker and its date
Lot 1053
Rare Anderson and Sons Edinburgh Patent Boat-Shaped centre shaft driver - attractive ivory colour full face insert - golden beech wood head with the original black paint to the base of the bore thro shaft (replicating the whipping), shellac finish to the head c/w the original hide grip with thick under listing - appears unused
Lot 1073
Rare Sayners Dronfield Reg No 691260 alloy rectangular forward face double lump back alloy putter c.1910 - diamond pattern face markings, bore thro shaft - sole stamped with the letter M and 9.12 c/w original grip. Note the only known example to come onto the market - Ex Jamie Ortiz Patino collection
Lot 1148
Rare and early Reid and Laidlaw Edinburgh Pat Sunday golf walking stick c.1890 - with brass blade handle stamped with Design Reg no.162191 - sharp hosel crease and deep nicking to the hosel - fitted with green heart shaft - some minor nicks to the face- overall 39.25" Note See Jeff Ellis Auction lot 113 for a similar example realized $1250
Lot 1165
Unique and complete set of early St Andrews Old Golf Course postcards issued by J&G Innes, Citizen Office, St Andrews - V&S Ltd D all unused - in all 24 postcards from the "1st Tee" right through to "18th Hole" incl individual ones of Hell Bunker and Coffin Bunker - all in exceptional condition - plus a further 7x various other postcards of St Andrews incl Golf Place, The Town Church, Bow Butts c.1900 used, 4x Judges The Pends, Old St Andrews, The Bay and West Port - all in postcard album - one of the best collections seen at auction and offering a rare opportunity to acquire a unique collection from the home of golf.
Lot 1166
Rare 1947 Ryder Cup Golf Tournament banquet menu belonging to Reg Horne and signed by both teams to the front cover - with personal remarks from both Walter Hagen (US Honorary Capt) and Henry Cotton - played at Portland Golf Club Oregon USA - the first Ryder Cup played since the outbreak of WWII in 1939 - the US team Ben Hogan (Playing Captain), Sam Snead, Byron Nelson, Lloyd Mangrum, Herman Barron, Ed Oliver, Lew Worsham, "Dutch" Harrison, and Jimmy Demaret (faded), Herman Keiser (faded) - GB team Henry Cotton (Playing Captain), Fred Daly, C.H Ward, Eric Green, Jimmy Adams, Max Faulkner, Arthur Lees, Dai Rees, Sam King, plus the host U.S R.A Hudson (Portland businessman who paid the expenses of the both teams and chaired the event), GB team manager R.C.T Roe - Note neither Reg Horne or Eric Green were selected to play hence the quite generous remarks by Walter Hagen "To Reg a great golfer but if it had been me he too would have lost on 18th-17th" signed Walter Hagen and Henry Cotton "To Reg Horne great credit to the Golf Profession Henry Cotton 11/11/47" - a remarkable and personal piece of Ryder Cup History
Lot 380
Rare T. Rose, 98 Cleveland St London (1853-1895) Patent Folding Handle Ex-Wide Drum crank wind brass salmon reel - 4" x 2.25" dia with raised check housing, with spring locking handle stamped with makers details to the crank arm - good sound check - rare maker who remained in business for only 42 yrs.
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