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Lot 1080
WILLIAM MELDRUM (SCOTTISH 1865-1942) FARM GIRL AND SHEEP IN A MEADOW (BOSHAM, SUSSEX 1903) Gouache and watercolour, 22 x 29cm (8.5 x 11.5") Included in the inscription verso - 'Water-colour sketch by William Meldrum (1865-1942) when on a sketching holiday at Bosham, Sussex in 1903 with John Q. Pringle who made water-colour sketch at the same time from almost the same viewpoint', signed by James Meldrum the artist's son Condition Report:The watercolor is unframed and on close inspection there is slight discolouration in the paper along the top edge and at the top left edge. slight creasing and small tear in the paper bottom left edge and corner.
Lot 1109
JAMES G H SPINDLER (SCOTTISH 1862-1916) THE HOME OF THE GROUSE - SKETCH NEAR CREIFF Gouache, signed and dated 1905, 80 x 110cm (31.5 x 43.25") Inscribed with title on Artist's label verso Condition Report:On close inspection there is what appears to be a diagonal line of paper repair with retouching located in the top left corner area, approx. 14 cm in length. There is a small scuff to the paper with and adjacent small foxing spot located in proximity to the left edge, upper middle. The edges are slightly exposed left and bottom edges where are small amounts pigment loss at extreme edges, but nothing unusual
Lot 18
FRANK AUERBACH (B. 1931)Sketch for Footballers – Regent's Park circa 1969 pencil, charcoal and oil on paper 21.5 by 34.5 cm.8 7/16 by 13 9/16 in.This work was executed circa 1969. Footnotes:ProvenancePrivate Collection, UKAcquired directly from the above by the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 73
THEATRE EPHEMERA, a large collection of Theatrical Programmes, ticket stubs, Press cuttings, advertising material, etc, including Richard Attenborough 'Fan Club' items (some signed) Bob Hope, Danny Kaye, Ken Dodd, The Phantom of the Opera, The Nutcracker, Kiss Me Kate, Dance with Wayne Sleep, Alladin, Kala Chethena Kathakali Troupe, Beniamino Gigli, Frankie Vaughan Story, Pickwick, Noel and Gertie, A Concert In Aid Of The Lord Mayor's East Coast Flood Relief Fund 1953 and other Productions with a small collection of signed photographs and autographs including Richard Burton (preprint) Johnny Briggs, Norman Wisdom (preprint) Rolf Harris (with sketch) Dorothy Tutin, Cal McCord, Don Maclean and others (two albums and loose)
Lot 110
Attributed Nathaniel Dance (1735-1811) "The Raising of Lazarus," oil sketch on canvas, laid on panel, approx 50 cms h x 66 w cms w (19 ½" x 26"). Dating from the late eighteenth century, this oil on canvas, laid on a wood panel, bears an original label on the reverse, reading "The Raising of Lazarus - Sketch by James Barry 1789". While there is no record of Barry undertaking a painting on this subject, in 1773 he was one of a number of artists participating in a scheme to decorate with murals St. Paul?s Cathedral in London. Sir Joshua Reynolds, initiator of the project, chose as his subject the Virgin and Christ in the Manger, Benjamin West elected for Christ Raising the Young Man from the Dead, while Barry planned to depict Christ before Pilate. Other artists participating included Angelica Kaufmann, Giovanni Batista Cipriani and Nathaniel Dance. The subject chosen by Dance for his sketch was The Raising of Lazarus. In the 1860?s both Barry and Dance had been young aspiring artists in Rome. A year after Barry?s death in 1806, Christies held a sale of the contents of his studio. It can be conjectured that this painting formed part of that sale, and so was mistakenly identified as being by Barry. Sketches by Dance in the V&A and Tate and support a tentative attribution of this interesting oil sketch to that artist. Dr. Peter Murray, 2022
Lot 123
William Orpen, RA, RI, RHA (1878-1931) "Portrait of James Hugh Smith-Barry, after Swinton (1904)," O.O.C., 61.1 x 46cm (24" x 18"). (1) From Anglo-Norman times onwards, the Barry family were prominent in county Cork and further afield. Closely associated with Barryscourt Castle and Fota estate, through the Elizabethan and Tudor periods, and the turbulent seventeenth century, the family survived many vicissitudes. However, in 1823, with the death of the 8th Earl of Barrymore, the title became extinct. It was revived in 1902, when Arthur Hugh Smith-Barry (1843-1925) was created Baron Barrymore and took his seat in the House of Lords. Anxious to affirm his position in society, Arthur Hugh commissioned Sir William Orpen to paint a posthumous portrait of his father, James Hugh Smith Barry (1816-56). The painting was to be hung at Fota House, surrounded by portraits of Barry ancestors. It was to be based on a chalk pastel sketch made in 1854 by James Rannie Swinton (1816-1888), a Scottish portraitist whose sitters included the Countess of Dufferin and other wealthy patrons. The resulting portrait is a testament to Orpen?s skill as an artist. Although based on Swinton?s pastel sketch, it is spirited and full of vitality, the paint applied with the artist?s customary verve. On 20th December 1904, Orpen wrote to Baron Barrymore from Forthampton Court, Tewkesbury, informing him that he had sent the portrait to him, and trusting it was ?to your liking?. On 28th December, Orpen wrote again, from 13 Royal Hospital Road, Chelsea, thanking Barrymore for a cheque for eighty four pounds and ten shillings. He mentioned how he had completed the portrait, working from photographs. Barrymore was so pleased with the portrait he asked some years later if he could have a copy made. Orpen delegated this task to his assistant, the young artist Sean Keating from Limerick. The original by Orpen was hung at Fota House in Cork, while the copy, by Keating, hung in the study at Marbury in Cheshire. Barrymore was also keen to have his own portrait painted by Orpen, who, in an undated letter to the Baron, outlined his prices. A head and shoulders was five hundred pounds, half-length was seven hundred while a full length portrait would set Barrymore back a thousand pounds. ?Of course I should like to try and paint you very much ? but it would have to be done here in London, as I will not be able to leave here this summer or autumn.? wrote Orpen. On 7th February, he wrote again, from 8 South Bolton Gardens, thanking Barrymore for a cheque for five hundred pounds which had arrived safely. Orpen had enjoyed painting the portrait: ?it gave me great pleasure doing it, as it is always nice being with nice people, and strange as it may seem people who get painted very often are far from it! and treat one as a business proposition!!? Together with a collection of letters from Sir William Orpen to Lord Barrymore relating to the work. Dr. Peter Murray, 2022
Lot 149
Seán Keating PRHA, (1889-1977) “Three Women,” c. 1972, approx. 53cms x 69cms (21" x 27"), charcoal, with black conté, highlighted with white gouacheAlthough the sitters in this triple portrait by Seán Keating have not been identified, it is likely that they are members of the same family, perhaps a mother and two daughters. The portrait was likely commissioned by people close to the artist, who admired his work and respected his contribution to Irish art in the twentieth century. Another possibility is that the drawing depicts actors from the Abbey Theatre: Keating regularly sketched and painted scenes from Abbey productions, including The Playboy of the Western World, and he also sketched Lennox Robinson directing a play. [Morgan O’Driscoll Dec. 2018]. In addition to this triple portrait, Keating sketched an individual portrait of the central figure (Whytes 2011). Traces of squaring-up remain on the paper, indicating this work was completed in the studio, with the artist working from individual sketches and photographs. Unlike many of his classic images, depicting farming and fishing families of the west of Ireland, with shrewd eyes and weather-beaten faces, the women depicted here radiate a sense of modern urban sophistication, and so this work can perhaps serve as a visual metaphor for Ireland during the twentieth century, when a transition took place from rural life to urban and suburban living. The central figure, a woman perhaps in her twenties, is glamorous, while the figure on the left—perhaps her mother—is older and appears more worldly-wise. Full of Keating’s characteristic expressionist vigour, this triple portrait is more than a sketch: the artist has used conté crayon over rubbed charcoal, suggesting colour in what otherwise would be a monochrome drawing, and has further highlighted the portrait with white gouache.Born in Limerick, John (later Seán) Keating initially studied at the Technical School in that city. Recognising his talent, in 1911 William Orpen arranged a scholarship for the young artist to the Metropolitan School of Art in Dublin. Keating visited the Aran Islands three years later, where he was inspired by the authenticity and simplicity of island life. The following year provided a complete contrast, where he worked in Orpen’s London studio as an assistant. He tried, unsuccessfully, to convince Orpen to return to Ireland, to document the momentous changes then taking place in society and politics. Keating himself did move back to Dublin, to teach at the Metropolitan School. Over the ensuing years, in a series of portraits and ambitious academic realist canvases, he documented the struggle for political independence. Although the unspoiled Aran Islands provided subject matter for many paintings, Keating also celebrated the industrialisation of the newly emergent Republic. He painted what he saw, and said what he thought, following the Realist tenet that art should not be separated from life. On his own initiative he decided to record the building of the Ardnacrusha Hydroelectric Scheme, realising that this massive engineering project would help bring prosperity to Ireland. His interest in progress was further revealed in a mural commissioned for the Irish pavilion at the 1939 New York World’s Fair. However, the public on both sides of the Atlantic preferred Keating’s more traditional subject matter. While Keating’s large allegorical works, such as Night’s Candles are Burned Out, are powerful, realist canvases, his watercolours and sketches reveal a delicacy and aesthetic quality similar to that of John Singer Sargent. President of the RHA from 1949-62, Keating was one of the key artists who defined visual culture in Ireland from the early to mid-twentieth century.
![Harry Clarke (1889 - 1931) Untitled [Study for 'Landor's Cottage] black pencil and graphite on heavy wove paper, sketch on ve](https://cdn.globalauctionplatform.com/fd29d35d-e5df-4c68-bbf7-ae4b0123d464/332ab811-e1c1-43e4-871e-ae4e01115faf/468x382.jpg)
Lot 32
Harry Clarke (1889 - 1931) Untitled [Study for 'Landor's Cottage] black pencil and graphite on heavy wove paper, sketch on verso of 'Three Figures,' approx. 10" x 7 1/2" [Dublin, c. Jan. 1918], framed; together with, Poe (Edgar Allen) Tales of Mystery and Imagination, 4to L. (George G. Harrap) 1919, First Edn., frontis, & 23 plts. (complete) decor. green cloth. (2) Provenance: The Clarke Estate Note: Study for an illustration to Edgar Allan Poe's 'Landor's Cottage' published in Clarke's masterpiece, Tales of Mystery and Imagination (1919). This sketch anticipates the published version and blocks some of its main components - the narrator of the story in the foreground gazing upon a valley, Landor's cottage nestled along a stream, and jagged mountain peaks in the background. One of Clarke's most expansive and beautiful illustrations, 'Landor's Cottage' was selected for the 1920 Royal Hibernian Academy Exhibition.
Lot 38
Jack Butler Yeats, RHA (1871 - 1957) "Waterlily, Nymphaea Hands," pencil sketch, depicting seated man engrossed in conversation and other figures in outline inscribed by the artist top left, unsigned, approx. 11cms x 18cms (4" x 7") and framed. (1) Provenance: The Yeat's Family Collection (portfolio) at Fonsie Mealy's, 2017.
Lot 39
Augustus John, OM, RA, (1878-1961) "Portrait of A Young Woman c. 1905," pencil on paper - 32 x 24 cms (12 ½" x 9½"). Sketched with Augustus John's customary bravura and flair, but also brilliantly controlled, this portrait in pencil depicts the head of a young woman, her wavy hair tied back. Through line and shade, sometimes pressing the point of the pencil against the paper, other times laying it sideways to create areas of shade, John has differentiated between the softness of the woman?s skin and the individual strands of her hair. The woman?s expression of slight haughtiness, or aloofness, is common to many of John?s portraits. His depictions of people, whether in pencil or oil paint are complex, often both idealised and down-to-earth, in a manner reminiscent of Rembrandt. The woman in this sketch may be his second wife Dorelia (Dorothy McNeill) and judging by its style is a relatively early work in his career. Born in Tenby, Wales in 1878, Augustus John studied art at the Slade School in London where his teacher was Henry Tonks. His sister Gwen, who also studied at the Slade, became a well-known painter in her own right. Even as a student, John was considered the most brilliant draughtman of his time, and his portrait sketches and oil portraits, particularly of his family, are among his most highly-regarded works. He spent some time in Paris, then in 1901 took a teaching job at the University of Liverpool to support his growing family, which consisted of his wife the artist Ida Nettleship, his model (and lover) Dorelia McNeill, and several children. For a time the entourage lived and travelled in a gypsy caravan. Between 1910 and 1928, he had a house at Martigues in Provence. During WWI, John was commissioned as an official war artist, but a planned monumental canvas depicting Canadian soldiers remained uncompleted. During the 1920?s he became one of Britain?s leading portrait painters; among his sitters were T. E. Lawrence, Lady Gregory, Dylan Thomas and W. B. Yeats. He was a frequent visitor to Ireland during these years. Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin. Dr. Peter Murray, 2022
Lot 45
Sean O'Sullivan, RHA 1906 - 1964 "Father Senan Moynihan, O.F.M.," pencil sketch, approx. 24cms x 19cms (9 1/2" x 7 1/2") signed lower right, mounted and framed. Victor Waddington label on reverse. (1) Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin.
Lot 85
Paul Henry RHA (1876-1958) Connemara Landscape with Cottages and Mountains c. 1923-4 watercolour on paper. signed l.r. ‘Paul Henry’ Bears label ‘The Victor Waddington Galleries 28 South Anne Street, Dublin. No. 3391 – 1’ A quintessential West of Ireland landscape by Henry, this watercolour depicts a group of traditional thatched cottages beside a country road. Behind the cottages can be seen an area of hilly bogland, with blue mountains in the distance, rising towards a cloud-filled sky. A cluster of white boulders marks the field in front of the cottages on the right. This watercolour was evidently a preparatory sketch for a more finished studio version, documented by S. B. Kennedy and listed in his catalogue raisonné (Cat. 602). The finished version was in its turn translated into an advertisement poster for the London Midland & Scottish Railway. Published in 1925, the caption on the poster read ‘Connemara by Paul Henry “Ireland This Year” ’. By the early 1930’s, along with another image by Henry, it was among the top-selling posters issued by the LMS Railway. Although the present sketch is not listed in Kennedy’s catalogue, it is nonetheless accepted by this writer as an autograph work by Henry, painted probably ‘en plein air’ as the artist travelled in Connemara around 1923-4. It is in its original frame and bears a Victor Waddington label on the back. Born and raised in Belfast, the son of a Baptist minister, Paul Henry showed aptitude for art from an early age and so was apprenticed to a designer of damask. However, a relative provided funds for him to study on the Continent, and in 1898 Henry travelled to Paris, enrolling at the Académie Julian. He also attended the studio run by James MacNeill Whistler, an American artist whose paintings, with their carefully controlled tonal values, were hugely influential at the time. Henry was also inspired by the work of poster designer Alphonese Mucha, who taught at Whistler’s academy. After moving to London in 1900, Henry produced illustrations for magazines, but turned increasingly to painting. Encouraged by Hugh Lane and John Millington Synge, he began to think about returning to Ireland, and in 1910 he and his wife Grace travelled to Achill Island. Although intending to stay just a few weeks, they ended up spending ten years on Achill. Initially, Henry delighted in depicting the local people as they farming and fished, but after he was employed in 1917-18 to administer payments of the Congested District Board, he began to focus increasingly on landscape. He and Grace moved to Dublin in 1919 and the following year they helped found the Society of Dublin Painters. In 1922 the French government purchased Henry’s painting West of Ireland village. By 1930, through his instantly recognisable views of life and landscape in the West of Ireland, Henry had come to be regarded as embodying in his art many of the ideals of the newly-independent Irish Free State, with exhibitions of his paintings being held in New York, Toronto, Dublin and London. Ref: Kennedy, S.B. Paul Henry: with a Catalogue of the Paintings, Drawings and Illustrations, New Haven and London: Yale University Press, 2007 Dr. Peter Murray, 2022
Lot 200
SPIELMANN (MARION HARRY) AND GEORGE S. LAYARDKate Greenaway, EDITION DE LUXE, signed by John Greenaway, with an original pencil sketch by Kate Greenaway depicting a seated young lady, plates (some colour), half-title and frontispiece lightly foxed, fore-edge lightly waterstained, publisher's blindstamped cream cloth, rubbed, spine darkened, 4to, Adam and Charles Black, 1905This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 209
DESPARD (CHARLOTTE)Woman in the New Era... with an Appreciation by Christopher St. John, publisher's printed wrappers, front wrapper with stain and chip at corner, The Suffrage Shop, 1910--SNOWDEN (ETHEL) The Feminist Movement, second edition, advertisement leaf, half-title and portrait, publisher's blind-blocked cloth, spine gilt (slightly faded), Collins' Clear-Type Press (The Nation's Library), [1913]--[SMEDLEY (CONSTANCE)] Woman: A Few Shrieks! by X. With an Appendix by Mrs. Philip Snowden, half-title, bookplate of Manuel Maximo Terrero, library cloth with stamps (half-title, last page and covers) and label of Working Men's College, [Letchworth, Garden City Press Limited, 1907]--PHILLIPS (MARY) The Militant Suffrage Campaign in Perspective, stapled in original printed wrappers, [Printed for the author by Latimer Trend & Co., Plymouth, 1957]--[HOUSMAN (LAURENCE)] The 'Physical Force' Fallacy, 8pp., signature of Elsie Louise Friedeberg, 1910, publisher's illustrated wrappers (detached from text), The Woman's Press, [1913]; [Printed poem] Woman's Cause, single folded sheet, full-page illustration on p.1, followed by 2pp. 'Prologue. Written for the Scala Theatre Matinee, November 12th, 1909', Women Writer's Suffrage League, [1912]--SHAW (GEORGE BERNARD) Press Cuttings: a Topical Sketch Compiled from the...Columns of the Daily Papers... as Performed.. at the Royal Court Theatre, bookseller's stamp at foot of title, publisher's wrappers, soiled, spine chipped, Constable, 1909--MASEFIELD (JOHN) My Faith in Woman Suffrage, publisher's printed wrappers, The Woman's Press, [1910], 8vo (8)Footnotes:A group of scarce pamphlets and books by suffragettes and their male supporters, including works by Charlotte Despard, Ethel Snowden (including the feminist polemic Woman: A few Shrieks!), Mary Philips, George Bernard Shaw and Laurence Housman.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 210
DUVAL (EMILY) & THE WSPUCollection of letters, printed ephemera and drawings relating to the Duval family and their involvement with the WSPU, comprising:i) Typed carbon copy of Mrs Emily Duval's statement following her six-month incarceration in H.M. Prison Winson Green, Birmingham, for taking part in militant action on behalf of the WSPU on 1 March 1912, describing in unsparing detail the harrowing ordeal of three sessions of force-feeding over two days in June ('...I was taken downstairs... into what is called 'The Nursery' which looked to me like a slaughter house... Then they held my head back and forced this Nasal tube, which was most agonising... I did not know how to breathe... What I went through all that night I cannot tell... pains in my head, pains in my ears, and my nose was pouring all night through and I was vomiting all night through... I simply felt mad to think that anybody could be so cruel... 'Now take my advice and take the cup' [the Doctor said] 'I tell you I won't; you shall carry me out a corpse first'... With that the gag was put in my mouth. The same performance gone through... I could see that tears were in the eyes of many of the wardresses...'), 7 leaves, 3 on lined paper, dust-staining, creases and marks, folio (335 x 210mm.), Birmingham, 30 June 1912ii) Correspondence from Emmeline Pethick Lawrence and Lady Constance Lytton to Emily Duval, including: Autograph letter signed ('Emmeline Pethick Lawrence') to Emily Duval ('My dear Mrs Duval'), paying tribute to her work for the cause ('...I see you now clearly in that Hospital Ward at Holloway... all those troubles are forgotten now and we rejoice together at what they won for others... I think of Lady Constance & Emily Davidson... I have been having letters lately from Christabel in Canada. She is very well & happy & so is Mrs Pankhurst. They have four adopted children... I had the great pleasure of being at Mrs Despard's birthday party... The longer I live, the more thankful I am that I was allowed to be one of that great fighting comradeship that changed the status of women...'), 9 pages, creased, some marks, 8vo (180 x 118mm.), Gomshall, Surrey, 15 October 1924; Autograph letter signed 'Constance Lytton' to Mrs Duval ('Dear Mrs Duval') sending a photograph of herself and asking for one in return '...as a remembrance of our time together in Holloway Remand Hospital... I wish people who scoff at our imprisonments could know more of what you have had to suffer in Holloway...', 4 pages, 8vo (178 x 116mm.), Homewood, Knebworth, 2 August [19]09; with an autograph letter signed 'L Garrett Anderson' to Lady Lockyer, introducing Lady Constance Lytton, 3 pages, 8vo (178 x 166mm.), Harley Street, 25 May 1910; and a portrait postcard of Lytton and related newspaper cuttingsiii) Printed ephemera including two membership cards for the WSPU (one with membership pledge detached); membership card for the Young Purple, White & Green Club (for Girls and boys from 8 to 21 years of age); two tickets for meetings at the Queen's Hall, with Mrs Pethick Lawrence and the Pankhursts as speakers; subscription form for Women's Franchise, 1907; Anti-Liberal handbill, Hastings, March 1908; supplement to Votes for Women, 1 October 1909; printed election pamphlets for Victor Duval, 1924 ('All Women Should Vote Duval'), etc.iv) Portrait of one of the Duval sisters, possibly Elsie, half-length, seated, wearing a green dress with pink trim, watercolour on board, unsigned, 247 x 185mm.Footnotes:'THEN THEY HELD MY HEAD BACK AND FORCED THIS NASAL TUBE, WHICH WAS MOST AGONISING': A harrowing first-hand account of the practice of force feeding from a celebrated activist and letters of recognition from the leaders of the WSPU.Emily Duval (1861-1924) joined the WSPU in 1906 but in 1907 left to join the Women's Freedom League and took part in their campaign of protesting in police courts when women were in the dock. She was imprisoned several times, notably in February 1909 when she served six weeks in Holloway. It is there she met Constance Lytton, who makes mention of her in Prison and Prisoners and later, as seen here, wrote to her reminiscing about their time together: '...I wish people who scoff at our imprisonments could know more of what you have had to suffer in Holloway...' she writes. In 1911 Emily rejoined the WSPU, preferring their more militant stance, and threw herself into their campaign of window smashing and was arrested and imprisoned several times. On 26 March 1912 she began a six month's sentence at Winson Green Prison in Birmingham. At the end of four months in prison she joined in the hunger strike and was forcibly fed. Her harrowing account of this ordeal is included here and she received an illuminated scroll in recognition (see lot....). Amongst her papers is a letter dated 1924 from Emmeline Pethick Lawrence who gives news of Emmeline and Christabel Pankhurst and writes in gratitude '...I think of Lady Constance & Emily Davidson & of you & many others... whose lives have helped to make our present work possible...'.Her husband Ernest and children Victor, Elsie, Norah, Laura, Winifred and Barbara were all involved in the cause, some also going to prison, their names included in the Roll of Honour. Also included in the lot is a photograph of three of the Duval sisters reading a copy of Votes for Women and a newspaper cutting from the Daily Sketch of 1912 reporting on the wedding of Una Dugdale and Victor Duval in which the caption speculates controversially on whether the bride agreed to 'obey' her husband. Tragically, three of the Duval daughters – Winifred, Elsie and Barbara - did not live long enough to see the vote (see Crawford, E., The Women's Suffrage Movement: A Reference Guide 1866-1928, 1999, for detailed information on the Duval family). Provenance: Sotheby's, 15 December 1987, lot 244 (part).For further information on this lot please visit Bonhams.com
Lot 137
WARHOL (ANDY)The Philosophy of Andy Warhol (From A to B & Back Again), INSCRIBED BY WARHOL WITH A SKETCH OF A SOUP CAN CAPTIONED 'Campbell's Pepper pot Soup', signed 'to Chris... Andy Warhol, London 1975' on the title-page, publisher's cloth, publisher's pictorial dust-jacket (spine faded, small abrasion one corner of lower cover), 8vo, Cassell & Michael Dempsey, 1975Footnotes:'CAMPBELL'S PEPPER POT SOUP' - A copy of Warhol's Philosophy inscribed by the artist with a drawing of his iconic soup can. This copy is unusual in that Warhol has also included the soup flavour, one of those featured in his original 'Campbell's Soup Cans', 1962.Provenance: Purchased by the vendor, Chris, at the London book signing launch. Loosely inserted is a review of the book, from a cutting in The Sunday Times, 23 November 1979.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 95
CHURCHILL (WINSTON)Signature ('Winston S. Churchill') in ink, beneath a pencil portrait by Sylvia Arnold, affixed to a mount with calligraphic quotation from his 4 June 1940 speech in ink below ('We shall fight on the seas and oceans...'), signed and dated by the artist 'Sylvia Arnold/ 1940' on the portrait, 400 x 280mm., with frame 550 x 420mm., 1940Footnotes:Sylvia Arnold joined the office of Lord Hastings Ismay, Churchill's chief military advisor, as a teenager in 1938, and worked in the Cabinet War Office from 1938 to 1947. She travelled with Ismay to Yalta in 1945 and on the RMS Queen Mary with Churchill to America. Another sketch of Churchill, together with her collection of wartime letters, photographs and memorabilia was included in the Sylvia Arnold and the Role of Women in World War Two exhibition at the Jewish Military Museum, Hendon, in 2013. Provenance: Sotheby's, 4 December 1972, lot 464; Christie's South Kensington sale; Private Collection, UK.For further information on this lot please visit Bonhams.com
Lot 152
Great Britain,23 publishing related certificates, Illustrated London News and Sketch Ltd., certificate for preference shares x 2, 1934-36, very decorative with vignette of St. Pauls and Thameside scene incorporated in heading, the 1936 has an uneven left margin, large format, green, also Illustrated Newspapers Ltd., 1935, and Sporting and Dramatic Publishing Co. Ltd., x 20, 1936-38. Mostly very fine. (23)For further information on this lot please visit Bonhams.com
Lot 351
George Gray (English, fl.1854-1873) after Thomas Webster, RA A Village Choirsigned and dated 'G Gray 1860' (lower right)painted porcelain plaque33 x 46.5cmFootnote: This plaque is after the original painting by Thomas Webster, which was exhibited at the Royal Academy in 1847 and is now in the Victoria and Albert Museum. It illustrates Washington Irving's 'Christmas Day', a literary vignette from The Sketch Book of Geoffrey Crayon (1820).Condition report: Appears to be in good condition, has not been examined out of the frame47 x 62cm (framed)
Lot 69
Horse Accomplishments, Sketch 6: A Time Keepersigned 'H. Bunbury. Del.' (lower left)inscribed 'This is the finest Horse in the World for a calculation–keeps time to a Second! he goes tis true but like the finest wheels of a clock his motion is scarcely perceptible!' watercolour, pen and ink on paper18.5 x 22cmFootnote: The present composition is most likely copied from the etching of this subject by Thomas Rowlandson after George Murgatroyd Woodward, originally published in 1799.Condition report: 28 x 31.5cm (framed)
Lot 299
ENGLISH SCHOOL, c.1800. Inveraray, a loch landscape, inscribed verso 'Inveraray from my own sketch', watercolour, 8 3/4 x 15 1/4in. Provenance: Ex. The Tyrwhitt Collection, with the Gerald M. Norman Gallery, London. In the past ascribed to Joseph Farington, RA. Sold together with another watercolour by an unknown English hand (c.1792), depicting Mounteviot with the River Teviot, Roxburghshire', 11 x 16in, (1860-1935); two (2)
Lot 350
Three sketch books, probably 19th century, each containing finished watercolours, watercolour sketches and pencil drawings, mainly of bucolic, architectural and coastal scenes, with some portrait sketches, 17.5cm x 23.5cm, 16.5cm x 24cm, and 17cm x 24cm (3) ADDITIONAL INFORMATION:The three books contain approximately one hundred works between them, including finished watercolours, finished pencil sketches, and finished pen and ink studies, with unfinished sketches and studies.
Lot 7020
Count Joseph Potocki: 'Sport in Somaliland', London, Rowland Ward, 1900, 1st edition in English, limited edition (32/200), numbered and signed by Rowland Ward, "One of the rarest of all African big game hunting books", Czech (Africa) p.133, portrait colour frontis of author from a water-colour sketch by the distinguished Viennese studio of J. Löwy, photographer to the imperial and royal courts, plus 18 photogravures printed on india paper and mounted on light card leaves hinged with linen, 5 of them double page, as called for, lacking some tissue guards, and two tissue guards with child's scribbling, lacks large folding map at end, p.43/44 torn with large part loss affecting text/black & white ill. in text, numerous illustrations to the text, some full-page, most tinted, photogravure plates generally reasonably clean and ok, minimal foxing, but a small number with light tidemark to lower margin and some marginal soiling, one or two other leaves with marginal part loss/closed tears, small number of leaves loose, imperial 4to, original light tan pictorial buckram (bumped and worn/slightly grubby), title gilt to spine and front board, image of "Our Biggest Lion" in black to front board, embossed snakeskin effect endpapers, linen hinges, top edge gilt. A sumptuous work, this volume recounts the 1895 safari of Polish aristocrat and sportsman Potocki and his comrades to Somaliland's Haud region, then into Ogaden. The excellent artwork in the book is from the talented Polish illustrator Piotr Stachiewicz
Lot 7248
Gerard Hoffnung (1925-1959), artist, cartoonist, illustrator & musician, collection of titles including some signed/with original pen & ink cartoons, including Gerard Hoffnung & James Broughton: 'The Right Playmate', Rupert Hart-Davis, 1952, 1st edition, original pen & ink sketch of a cat to FFEP by Hoffnung and inscribed by him "To my George, the old dear, from Gerard. March 1953. A Pusso for George.", black & white ills. throughout, original pictorial paper covered boards, dust wrapper; 'Ho Ho Hoffnung', Putnam, 1959, 1st edition, inscribed by author FFEP "For George and Irene with [small sketch of heart with arrow through it] from [humorous sketch of the author as a tuba smoking a pipe] London 1959",black & white ills. throughout, original pictorial paper covered boards; 'Hoffnung's Encore', Dennis Dobson, 1968, 1st edition, inscribed by his wife, Annetta Hoffnung, verso FFEP, coloured and black & white ills. throughout, orig. pictorial paper covered boards, dust wrapper; Gerard Hoffnung & Colette: 'The Boy and the Magic', 1964, 1st edition, 14 full page colour ills. by Hoffnung as called for, oblong 4to, original cloth, dust wrapper; plus a packet of Hoffnung ephemera including exhibition catalogues, national film theatre programme, Annetta Hoffnung Christmas card etc
Lot 155
Nelson in Memoriam: a rare and particularly fine gilt decorated porcelain jug by Barr Flight & Barr printed en-grisaille with a reverse signed pencil drawn head and shoulders portrait flanked by a French eagle standard the shaft entwined with serpents and a dove of Peace, the underside with impressed mark of initials surmounted by a crown, circa 1807, 148mm* This mirror-image portrait is after the recently discovered sketch of Nelson by Albin Roberts Burt done in pencil on silk probably about 1802. The original is signed A.R. Burt as is this version although here in mirrored format. Burt’s brother Henry Frederick was Nelson’s secretary and Burt himself a close friend of both Sir William and Emma Hamilton. He trained initially as an engraver under Robert Threw and Benjamin Smith. Adverts affixed to the reverse of some of his works stated that he had invented a machine by which the most accurate likenesses can be taken. It is likely that in searching for a suitable posthumous portrait of Nelson this very personal likeness was settled upon by Barr Flight & Barr and reproduced, by virtue of Burt’s invention, as a mirror image. There is no record of this portrait in either Richard Walker’s 1998 seminal or his 1985 Regency Portraits catalogue. The recently discovered original pencil drawing was sold by Charles Miller Ltd in their Maritime and Scientific Models, Instruments and Art auction on 8th November 2016 as lot 71 with a provenance described as UK private collection. Barr Flight & Barr are recorded as operating between 1807 and 1813. Proceeds from the sale of this lot will go to benefit various charities.# commemorative, commemorate, naval, military, war
Lot 243
George de Forest Brush (American, 1855-1941)The artist's familysigned 'Geo de Forest Brush' l.c., oil on board152.5 x 183.5cm, unframedThis group portrait depicts (from left) Georgia, Tribbie, Mrs Brush holding Mary, Gerome and Nancy. The artist’s daughter Nancy Douglas Bowditch describes in her book, ‘George de Forest Brush: Recollections of a Joyous Painter’, how her father, a pupil of the celebrated Jean Leon Gerome in Paris, began painting ‘The Family Group’ in 1898 when they were living in a small village near Fontainebleau; he continued working on it when the family moved to Florence later the same year and it was finished by the time they returned to America in 1899. According to his daughter, Brush then ‘painted almost exclusively his wife and children, except for commissioned portrait orders’. Our picture is very similar in composition to the ‘Family Group’ of 1898, as illustrated in the book (fig. 22), but with minor differences in detail. It is unlikely to be a preparatory sketch on such a scale, but may well be another version of the portrait painted at a later date. A copy of the book is included with this lot. Condition report: The painting is executed in oil on a large flat wooden board which has been nailed through the front surface onto a wooden stretcher. The board is largely in plane, there is some delamination around the edges. The paint layers have numerous textural issues. Vertical lines of cracks in have occurred related to the wooden support, most areas are stable but some places the paint is lifting and flaking. Drying cracks have formed as the paint layer dried creating an uneven surface texture. There is extensive overpaint across the surface. In the lighter paint passages, the over paint has become pale and obvious, for example in the face of the central figure. The varnish layer is fairly even and semi-glossy. There are numerous scuffs and a layer of surface dirt present
Lot 503
Charles Edwin Fripp A.R.W.S (English 1854 – 1906 ), Zulu war artist. Pencil and ink sketch of an officer defending a fallen comrade sketched during the campaign. Also accompanying the lot are some framed Zulu cowrie shell body ornaments from Fripp's collection and likely to be from the conflict itself, a framed photograph of Fripp and his family and an extract from The Graphic dated Aug 16th 1879 with illustrations by Fripp. Provenance by family descent.
Lot 1377
Postcards, Novelty, a collection of approx. 16 novelty cards including rotating wheels (3), Sketch Book with illustration inside, pull-outs (rail ticket, bonzo, vintage card), Oyster Shell with luggage label from Margate, stamp montage, HTL (fireworks, Hambury, Brighton), Art Nouveau faux metallic cards and push out birds (Tuck Birds on the wing no 3775 series II) (mainly gd)
Lot 1092
An interesting selection of collectables, including two 1824 money-orders for £10 and £5, from Messrs. Remington, Stephenson, Remington & Toulmin, 69 Lombard St (note: in 1829, the second Mr Remington [Rowland], MP for Leominster, absconded with £70,000 of clients' funds, due to gambling debts, following a run on the bank the previous year); lot also includes a carved Meerschaum and amber cheroot-holder in fitted case, a collection of nine 17th/18th century clay pipes, a facsimile edition of Henry Moore's Shelter Sketch-Book and a Birmingham Corporation Tramways & Omnibus Department booklet (ca. 1930) - Outer Circle Omnibus Service No.11 - 'See Birmingham's Charming Suburbs by 'Bus. 25 Miles for fifteen Pence'
Lot 2033
Thomson, John: (1765-1846), Historical Sketch Of The Opinions Entertained By Medical Men Respecting The Varieties And Second Occurrence Of Small-Pox; With Observations On The Nature And Extent Of The Security Afforded By Vaccination Against Attacks of That Disease: In A Letter To Sir James McGrigor, Director-General Of The Army Medical Department, &c. London: Printed For Longman, Hurst, Rees, Orme, And Browne; And David Brown, South St. Andrew's Street, Edinburgh. 1822, later quarter calf binding, 8vo. (1)
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