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Click here to subscribeTomb Raider signed limited edition comics including #0 (signed Joe Jusko 38/1500), #1/2 (signed Andy Park 2 /999), #1 (alternate cover signed Dan Jurgens 220/1500), #2 (alternate cover unsigned), 3, 4 (signed Jae Lee), plus 2 gold foil versions, 5 (signed Dan Jurgens), #1 (exclusive sketch cover), plus 7 more (unsigned) Signed comics include Dynamic Forces certificates on reverse. (18 comics)
John William Waterhouse, RA, RI (British, 1849-1917)Sketch for 'Gather Ye Rosebuds While Ye May' or Narcissus indistinctly signed 'J W Waterhouse' (lower right)oil on canvas68.2 x 50.5cm (26 7/8 x 19 7/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 15 March 1983, lot 75, as Gather Ye Rosebuds While Ye May - sketch.Private collection, UK.Between 1909 and 1914, John William Waterhouse produced approximately one dozen paintings of women picking flowers. These are in varying stages of completion: some were signed, dated, and exhibited, while others have come down to us unfinished and untitled by the artist. At first glance, all appear to be without narrative, in keeping with the Edwardian taste for idyllic scenes of women in nature. Appreciation of them need go no further, but in fact most relate to the ancient Greek myth of Persephone (Proserpine in Latin), a supremely Romantic narrative familiar to Waterhouse's classically educated audience. It was while she was gathering flowers in Sicily's Vale of Enna that Hades (Pluto) carried Persephone down to his infernal realm. Her distraught mother, the harvest goddess Demeter, caused vegetation to wither, prompting her father Zeus to rule that Persephone should be transformed into the queen of Hades for the winter—essentially a death sentence—and returned to Demeter every spring. Rather than showing Persephone dragged into the chasm, as other artists had, Waterhouse characteristically emphasized the beauty and fertility that aroused Hades in the first place. This series, then, epitomizes an important aspect of late Pre-Raphaelitism - the rendering of a spiritually significant theme, in this case a Greek myth about the immortality assured by natural regeneration. Long fascinated with what Shelley called 'the loveliness of terror', Waterhouse had already explored key aspects of Persephone's story—the abduction and transformation of such flower-picking women as Flora, the fleeting passage of flowers' beauty, and figures who endured visits to Hades, such as Psyche. Waterhouse encountered Persephone throughout the literary canon, from Homer and Ovid to Milton, Shelley, Swinburne, and Pater. Ruskin called her the 'Greek Flora' and believed that Greeks 'saw that the force and use of the flower was only in its death.' In the Christmas 1909 number of The Art Journal, the writer Rose E.D. Sketchley repeatedly linked Waterhouse's oeuvre with 'the last poem of living paganism', De Raptu Proserpinae (The Rape of Persephone), written in the manner of Ovid by Claudian (AD 370-404). Singing as she wove a tapestry in nature's colours, Persephone was one of the sources that inspired Tennyson to write The Lady of Shalott, a story Waterhouse imagined so famously. Thus it makes sense that Waterhouse decorated the title page of his own Tennyson volume with a pencil sketch of Persephone bending down to pick flowers (Michael Titterington Collection). As he conceived this drawing, Waterhouse surely had in mind a well-known work by his Pre-Raphaelite forerunner Edward Burne-Jones, The March Marigold of 1870 (fig 1, private collection). Many of Waterhouse's Persephone paintings offer expansive Arcadian landscapes, painted broadly in a bright palette that suggests fresh air but not dazzling sunshine and deep shade. In 1909 Waterhouse completed the first of them, 'Gather Ye Rosebuds While Ye May' (fig 2) for his patron Brodie Henderson. This shows Persephone and a companion in the foreground, with two more maidens visible in the distance. In 1910 the artist exhibited at the Royal Academy 'Spring Spreads One Green Lap of Flowers' — a girl kneeling to pick flowers alone. Completed in 1912 was Narcissus, which shows a woman bending forward to pick flowers; it was narcissi that Persephone was picking when she was abducted. The series closed in 1914 with the kneeling Flora, whose title, though pertinent to the interrelationship of women and flowers, would more correctly have been Persephone. Possibly due to the start of World War I, Waterhouse's subsequent pictures returned to the more recognisable—arguably more British—narratives of the early Pre-Raphaelites, including Tristram and Isolde and Miranda—The Tempest.We know that Waterhouse thought carefully about the Persephone pictures because many preparatory works have come down to us. For example, there is a pencil study that shows the girl using her other arm to pick flowers (Dr. Dennis T. Lanigan Collection). In his day, critics praised Waterhouse's capacity to compose without exhaustive preparations. On canvas, the design's outlines would first be brushed in with thin, dark oil paint on the canvas's white ground; the forms were then laid in with neutral colour, before the virtuoso flesh painting began. Because the present oil painting was not fully worked up, it offers valuable insights on how Waterhouse elaborated the face and costume before tackling the jewel-like flowers and verdant landscape. This picture also underscores how intently Waterhouse wanted to get his primary figure 'right'; here he focuses tightly on her to maximize the expressivity of her pose.Because it shows the girl reaching down with her right arm, the present picture could have been made in anticipation of either 'Gather Ye Rosebuds While Ye May' (1909) or Narcissus (1912) — or both. The fact that Waterhouse signed it suggests he may have had it sitting in his studio when he presented it to someone, perhaps a visitor.Characteristic Waterhouse touches appear across the surface. Most striking are the flowers, which hover magically in the girl's hand and in the grass, and the stream reminding viewers that water is the feminine element. Notice, too, the tree trunks visible at left and top, evidence of Waterhouse's ongoing fascination with trees as connectors of the upper and lower realms. Sketchley characterised the Symbolism of such decorative landscapes as 'a region where all things are poetical symbols. The trees standing in thick groves against the sky, the streams and dainty fountains in the flowered grass... are vehicles of a poetical idea.'Though we do not know her name, this model epitomises Waterhouse's ideal female type and can be related to contemporary works by him. She is clearly painted from the favourite model who posed for 'Gather Ye Rosebuds While Ye May' (1909) and Penelope and her Suitors (1912).The uncannily modern beauty of Waterhouse's women endures, still drawing admirers to his paintings, whatever their subject or degree of completion.We are grateful to Peter Trippi for compiling this catalogue entry.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Six magazine prints and artwork, consisting of a pencil and watercolour sketch titled 'The Eton Game of Fives', 20.5cm x 17cm, cartoon print of 'Fidosarus, The Prehistoric Poodle', 23cm x 35cm, gouache promotional poster for 'The Island of Fu Manchu', 36.5cm x 28.5cm and 'Dance of Destiny', 35.5cm x 26.5cm, a watercolour of a nurse on the phone with a gentleman standing beside her, 41cm x 29cm and a pastel sketch of a couple dancing, 43cm x 34cm, all framed and glazed (6)
Red chalk on paper (Dimensions: 19cm x 30.5cm (7.5in x 12iin)) Provenance: Christies New York 2010 - Sale 2289, Lot 46 as Circle of Jan Both. Note: During the seventeenth century, a group of Dutch artists found themselves lured by the light of Italy. One such artist was the landscape painter Willem de Heusch, who lived in Italy from c.1640-45 until returning to his hometown of Utrecht by 1649. This period had a profound impact upon his work: going so far as to start signing his work G D Heusch, adopting the Italianate form of his name by using a ‘G’ rather than a ‘W’; Guglielmo. Upon his return to Holland, he became Dean of the Guild of St Luke; fellow Dutch landscape painters Jan Both and Cornelis van Poelenburgh were also on the council. Like his teacher, Jan Both, who he often emulated in his compositions, de Heusch painted romantic visions of the Campagna; the Italian countryside around Rome. Unlike Claude Lorrain, whose work from his time in Italy was highly influential to de Heusch, Willem rarely introduced biblical scenes into his landscapes, choosing to depict the utopian dream instead. This original red chalk sketch and the following oil on panel of this Italianate Landscape evokes the Arcadian world that de Heusch is known for. These two expressive pieces have only recently been reunited after hundreds of years apart, when the sketch was purchased from a major international auction house in New York and the oil on panel was purchased from the collection of an English Lord. The slender and delicate trees, which gracefully entwine themselves amongst each other, obscure the background, provoking a desire in the spectator to journey onwards into the distance. In the foreground, a shepherd herds three donkeys homewards along a rocky track.
Oil on panel (Dimensions: 23cm x 33cm (9in x 13in)) Provenance: Lord Shuttleworth, Leck Hall, Private Collection Note: During the seventeenth century, a group of Dutch artists found themselves lured by the light of Italy. One such artist was the landscape painter Willem de Heusch, who lived in Italy from circa 1640-45 until returning to his hometown of Utrecht by 1649. This period had a profound impact upon his work: going so far as to start signing his work G D Heusch, adopting the Italianate form of his name by using a ‘G’ rather than a ‘W’; Guglielmo. Upon his return to Holland, he became Dean of the Guild of St Luke; fellow Dutch landscape painters Jan Both and Cornelis van Poelenburgh were also on the council. Like his teacher Jan Both who he often emulated in his compositions, de Heusch painted romantic visions of the Campagna; the Italian countryside around Rome. Unlike Claude Lorrain, whose work from his time in Italy was highly influential to de Heusch, Willem rarely introduced biblical scenes into his landscapes, choosing to depict the utopian dream instead. The previous original red chalk sketch and this oil on panel of an Italianate Landscape evokes the Arcadian world that de Heusch is known for. These two expressive pieces have only recently been reunited for the first time after hundreds of years apart, when the sketch was purchased from a major international auction house in New York and the oil on panel was purchased from the collection of an English Lord. The slender and delicate trees, which gracefully entwine themselves amongst each other, obscure the background, provoking a desire in the spectator to journey onwards into the distance. In the foreground, a shepherd herds three donkeys homewards along a rocky track.
Signed and titled, indistinctly signed verso, oil on board (Dimensions: 16.5cm x 26.5cm (6.49in x 10.43in)) Note: With thanks to Kenneth McConkey for his help in cataloguing this painting. In the summer of 1887 John Lavery was recalled to Ulster to paint a large plein air group portrait of the Smiley family who lived at Drumalis, Larne, in county Antrim. Smiley was co-owner of The Northern Whig , and through his wife, his business interests extended to the Coats, Clark, Kerr thread-making conglomerate that came together in Paisley in 1896. Lavery’s grand project, however, did not go well, and from two other extant small oil sketches, we can infer that the skies were unpredictable and sometimes overcast. The painter, nevertheless, managed to complete a portrait of his patron’s four-year-old son (unlocated), which was shown in the winter exhibition of the Royal Society of British Artists in 1887. He and Hugh Houston Smiley remained in contact and the artist returned to Larne during August 1890, expressing his enthusiasm in an undated letter to his friend, Robert Macaulay Stevenson, and suggesting that he, James Guthrie and other Glasgow School painters might join him. Although this did not happen, Smiley enlisted George Walton, the architect brother of fellow ‘Glasgow Boy’, EA Walton, to redesign the interiors of the Larne house in 1893. The present small sketch which dates from Lavery’s first sojourn, can nevertheless be placed securely on the rocky county Antrim shore because of the unique character of a coastline that features black volcanic basalt boulders. Thrown up over four hundred million years ago these relics of lava layers, broke through the limestone crust and can be seen in the cliffs and sands of the area. They proved exciting to geologists in the first post-Darwinian age, in indicating that the world was much older than the Biblical creationists of the day had calculated. Although he would return regularly to Ulster in later years, these tiny Larne beach scenes were among the first pictures painted of Lavery’s native province.
Rowland Suddaby ( 1912 - 1973 ) Landscape with Trees and Brick wall In the Foreground Pencil. 9 x 11.1/4 Inches, From a Sketch Book, see on reverse receipt from Grant Waters - Author of Dictionary of British Artist working 1900-1950 - purchased from the artist's widow Elizabeth Suddaby in 1984)
The Proposal: A Mid-18th Century Ivory Fan, cheerful in bright blues and pink against the cream monture, with daintily painted and shaped sticks, supports a double paper leaf, the background in powder blue. A central cartouche of a gentleman wearing blue and pink, down on one knee before his lady, also wearing pink and blue, is complemented by reserves of large pink, white and lighter blue flowers. The verso is relatively plain with just a sketch of a building and surrounding trees. Guard length 10.5 inches or 26.5cm CONDITION REPORT: . Two pinholes to the upper right side, slightly grubby verso. A chip missing from the ivory on the lower section of the lower guard. An odd nick to the upper border but essentially the leaf is crisp.
"Dolce Mia", A Perfume Fan advertising this scent, produced by V. Rigaud, of 16 rue de la Paix, Paris, and featuring Madame Favart et Berzez, French comedians, when appearing at the Capucines Theatre. Printed in colour by Devambez, this is taken from a sketch by Daniel de Losques (1880-1915). The leaf is further marked "Extrait du "Figaro"". Mounted on plain wood sticks with lightly varnished guards, the verso is plain. Guard length 8.5 inches or 21.5cm; "Parfum Floramye" by L.T. Piver, (launched in 1905), the well-known design by Mich of the Edwardian lady and dog in the Wright Flying Machine above the seaside, motorboats racing beneath. Also noted as a souvenir of Vichy-Etat. The verso, with eau de nil patterns against cream, is marked "Vichy-Célestins, sels, pastilles, comprimés, Vichy-Etat" and "Parfumerie L.T.Piver ,10 Boul'd de Strasbourg, PARIS". Guard length 9 and 5/8 inches or 24.5cm; a third fan features a scene of a tavern, several 18th century gentleman being entertained by ladies, the verso advertising various cafés and a shop supplying hardware and linen for the catering trade in Toulouse, France Guard length 7.25 inches or 18.5cm; and the final fan, dated 21st December 1913, the date of the "Grand banquet de la Ligue Auvergnate *" issued by the "Maison Jules Perrigault", a supplier of wine, coffee, metal and celluloid articles, amongst others. The recto, in pastels, features a tender courting scene. Guard length 7.25 inches or 18.5cm (4)The Ligue Auvergnate is an international confederation of associations in the Massif -Central region of France, founded in 1886 by Louis Bonnet. CONDITION REPORT: .. The first fan has some water staining to the verso which has in some areas transferred to the recto to a lesser degree. Some nicks to some folds. The Piver fan leaf is quite worn with rubs to the folds and many splits. Slight staining to the verso seen on the left. The third fan has slight wear to the leaf, on the verso bottom left, and the final fan is clean and crisp, the leaf needing to be secured to the upper guard.
* Gillray (James, 1757-1815). Tiddy-Doll, The great French Ginger-Bread Baker, drawing out a new Batch of Kings..., H. Humphrey, Jany. 23rd,1806, etching with contemporary hand colouring, trimmed to neatline, small chip torn from upper left corner, 255 x 380 mm, together with Judge Thumb. Or-Patent Sticks for Family Correction: Warranted Lawful! [1782], hand coloured etching, trimmed to neatline, tipped on to later paper, 190 x 140 mm, with The Pigs Possessed - or the Broadbottm'd Litter running headlong into ye Sea of Perdition...., 1806 [but later state, probably published in 'The Satirist'], etching with contemporary hand colouring, old folds, some offsetting, 325 x 255 mm, and The Tempest or Prospero Triumphant - a sketch from the pictures lately exhibited at the National Gallery [6th May 1827], mixed method engraving with contemporary hand colouring, trimmed to image and laid on later paper, old fold, title added in manuscript below image, margins frayed and worn with slight loss to manuscript title, 305 x 415 mm plus another twelve caricatures after James Gillray from later editions and publications, various sizes and condition (Qty: 16)
Falda (Giovanni Battista ). Il Terzo Libro del'Novo Teatro delle Chiese di Roma..., 1st edition, Rome: Giacomo de'Rossi, [1667-1669], engraved throughout with title, pictorial dedication and 50 plates (unnumbered), title lightly soiled & stained and with contemporary pen & ink sketch of military encampment to verso (slightly showing through to recto), occasional spotting and dust-soiling to plates, one dampstained to lower margin and another torn to lower outer blank corner and repaired, paste-paper endpapers, upper pastedown with attached business card of Geo. Jackson & Sons of 49 Rathbone Place, London, contemporary half diced calf, worn, spine defective with loss and with number applied in white & remnants of paper labels, upper board detached & lower joint split, worn, oblong folio (Qty: 1)NOTESFowler 116. The third volume of Il Nuovo Teatro delle Fabriche, et Edifici, in Prospettiva di Roma Moderna..., normally found with only 38 plates. Included are several plates of church interiors, possibly from another volume or work by Falda and Rossi. The London firm of George Jackson, founded probably in the 1760s by Thomas Jackson, was the pre-eminent supplier of decorative plasterwork in Britain through most of the 19th and 20th centuries. Its commissions included major public buildings such as Buckingham Palace and the Royal Pavilion, Brighton.
[Price-Davies, Llewelyn Alberic Emilius, 1878-1965]. Second Boer War journal, 8 October 1900 - 24 February 1902, contemporary manuscript fair copy, [274] pp., stationer's ink-stamp 'Creswick & Co.' to rear pastedown, contemporary roan-backed pebble-grain cloth, spine worn, front joint cracking, 4to (22.8 x 18 cm), 2 pen-and-ink sketch maps laid in (12.5 x 20 cm and 25 x 20 cm) (Qty: 1)NOTESProvenance: Private Collection, Herefordshire. The unpublished Second Boer War journal of VC and DSO recipient Llewelyn Price-Davies, transcribed from his letters probably by a family member or other associate working under his instruction. (The two accompanying sketch-maps, presumably made on the spot by Price-Davies himself, are in a slightly different hand from the journal, and one contains an annotation seeming to address the putative copyist: 'Sorry it is rather messy but I think you will understand it. Also contours don’t end off properly at the Vaal which was put in afterwards when I found my mistake.') Although the manuscript is unsigned it is attributable with certainty to Price-Davies, then a junior officer in the King’s Royal Rifle Corps, on internal evidence including the author’s vivid account of his actions at Blood River Poort on 17 September 1901 and his receipt of the Victoria Cross on the recommendation of Hubert Gough: charging a group of 400 flanking Boers, Price-Davies was shot off his horse having ‘ridden to what seemed to be almost certain death without a moment’s hesitation’ ( London Gazette , 29 November 1901). The letters relate in minute detail Price-Davies’s activity during the war’s guerrilla phase, including service in the flying columns of Dartnell and Spens, skirmishes with Boer commandos, camp life and recreation, relationships with brother officers, interactions with burghers and 'kaffirs', and the British army’s scorched earth policy and technological experimentation; there are also candid discussions of the British command including Kitchener, Gough, Buller and Allenby, and a favourable portrait of Louis Botha. Price-Davies’s family papers are now in the Imperial War Museum. The National Army Museum holds a collection of papers including 'diaries [which] relate to Price-Davies's career in the Boer War, in World War I ... and with the Home Guard (1940-44)' (Cook et al., Sources in British Political History, 1900-1951 , II p. 63). A selection of his World War I letters was published in 2013 (at The History Press, Stroud).
Royle (Charles). The Egyptian Campaigns, 1882 to 1885, and the events which led to them, 2 volumes, 1st edition, Hurst and Blackett, 1886, 3 maps, including 2 folding, to first volume, and one folding map and 6 map illustrations to text to second volume, contemporary ownership signature of J.F.M. Prinsep to half title of each volume, some marks and minor damp staining to margins of front and rear endpapers, original cloth gilt, rubbed and some marks and spines lightly faded, second volume with some restoration to rear inner hinge, together with Barttelot (Walter George). The Life of Edmund Musgrave Barttelot, Captain and Brevet-Major Royal Fusiliers, Commander of the Rear Column of the Emin Pasha Relief Expedition, being an account of his services for the relief of Kandahar, of Gordon, and of Emin, from his letters and diary, 1st edition, Richard Bentley and Son, 1890, monochrome illustrations, including two folding maps at rear, recent blue cloth, spine lettered in gilt, minor damp marking to lower edges of covers and endpapers, 8vo, plus three others related: Story of the Soudan War. From the rise of the revolt July, 1881, to the fall of Khartoum and death of Gordon, Jan. 1885, by W. Melville Pimblett, 1885, The Egyptian Soudan, its loss and recovery, including I.-A Rapid Sketch of the History of the Soudan, II.-A Narrative of the Dongola Expedition, 1896, III.-A Full Account of the Nile Expeditions, 1897-8, by Henry S.L. Alford, and W. Dennistoun Sword, 1898, and Recollections and Reflections by Coles Pasha, C.M.G., late Insepctor-General of Prisons, Egypt, St. Catherine Press, circa 1918, all original cloth, the first two titles with soiling and some damp marking to covers, slightly affecting preliminary leaves, all 8vo (Qty: 6)
Bannerman (David Armitage) . The Birds of The British Isles, 12 volumes, 1st editions, 1953-63, numerous colour illustrations by George E. Lodge, some light toning, all original cloth, volumes 1, 5 & 6 without dust jackets, covers slightly toned & rubbed to head & foot, 8vo, together with: Thorburn (A.) , British Birds, 4 volumes, 4th edition, 1918, 82 colour plates, some spotting & toning throughout, publishers uniform original red cloth, boards & spines rubbed & faded, volume 4 spine partially detached at head, large 4to, A Naturalist's Sketch Book, 1919, numerous colour & monochrome illustrations, some light marks & toning, original red cloth, boards & spine slightly faded & rubbed, large 4to, Harvie-Brown (J. A.),Travels of a Naturalist in Northern Europe, Norway, 1871, Archangel, 1872, Petchora, 1875, 2 volumes, 1st edition, London: T. Fisher Unwin, 1905, original cloth, ex library with related plates to front pastedowns, residue of removed plates to front boards, extremities slightly rubbed, a few nicks to spines, 8vo, and McIntosh (W. C.) , The Resources of the Sea..., 1st edition, 1899, black & white illustrations, minor marginal toning, publishers original gilt decorated blue cloth, spine lightly rubbed to head & foot, 8vo, plus other early 20th century & modern ornithology & other natural history reference, mostly original cloth, many in dust jackets, G/VG, 8vo/4to (Qty: 5 shelves)
Aldin (Cecil [illustrator]) . Handley Cross or Mr. Jorrocks's Hunt, 2 volumes, by R. S. Surtees, circa 1911, signed by the illustrator to the limitation page, 23 tipped in colour plates plus black & white illustrations, water damage to volume 2, top edges gilt, minor marginal toning, publishers uniform original gilt decorated cloth, volume 2 boards & spine water damaged, volume 1 boards & spine marked & rubbed to head & foot, 8vo, limited edition 123/250, together with: Barton (Frank Townend) , Pheasants In Covert and Aviary, 1912, 4 colour plates & 37 black & white illustrations, some light spotting & toning, top edge gilt, publishers original gilt decorated green cloth, lightly rubbed to head & foot, 8vo, and Peek (Hedley & F. G. Aflalo) , The Encyclopedia of Sport, 2 volumes, 1897, numerous monochrome plates & illustrations, some light toning, top edges gilt, volume 1 boards & spine detached, uniform original gilt decorated red cloth, boards & spines slightly marked & rubbed, large 8vo, plus other late 19th century & 20th century sporting, hunting and natural history interest, including Badminton Library, Fur Feather and Fin Series, The Lonsdale Library, Lionel Edwards, My Hunting Sketch Book, 1928, My Scottish Sketch Book, 1929, etc., some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8vo/folio (Qty: 5 shelves)
[Africa]. Group of approximately 36 manuscript maps, town plans and geological sections, c.1860, all in pen and ink on laid paper, many folding, 17 on loose or disbound single sheets or bifolia (these generally water-damaged, resultantly friable and separating along central folds), 15 remaining bound together in a section disbound from a larger sketchbook (some of these mounted on guards), 4 town plans similarly disbound (these water-stained), various dimensions (sheet size range approx. 23 x 19 cm to 28 x 40 cm), together with: Gambia, Map of the River Gambia for 105 Miles above the Falls of Barraconda, by F. W. Finden, from a Sketch made by His Excellency Governor Mac Donnell, February 1849, lithographic map, marginal excisions to top and right-hand edges, closely trimmed along others edges, small hole to lower outer corner, creased from folding, 31 x 39 cm, Aden, Plan of Aden and the Surrounding Country, [1839], lithographic map, disbound from book with guard adhering to inner edge verso, trimmed with loss of frame along lower edge, creased from folding, 29 x 51 cm (Qty: -)NOTESThe manuscript maps and plans appear to be meticulous contemporary copies mainly after those in Heinrich Barth's Travels and Discoveries in North and Central Africa (first edition in English 1857-8). The printed map of Aden is from Indian Papers, No. IX, Correspondence relating to Aden (1839).
[Italy]. [Album of architectural studies and designs], c.1812-27, 18 wove-paper leaves each with architectural sketch recto in pen and ink, pencil and grisaille or bistre wash, captions and annotations in black ink, 4 leaves blank, contemporary Italian half vellum, marbled sides, shelf-mark label to spine, oblong 4to (24.4 x 19 cm), together with: [France & Italy] , [Manuscript journal of a tour through France and Italy], 1822-3, including Paris, Turin, Alessandria, Lucca, Buggiano, Florence, Rome, Naples, Herculaneum, and Terracina, [ 120] pp., ownership inscription 'Mary Ranson Bush, Lyons, France, Novr 30th 1822' to front pastedown, laid-in manuscript letter to Cecil H. Clough on Warburg Institute letterhead identifying the sitter as the subject of 'Hakewill's engraving', contemporary roan-backed boards, rubbed and worn, sides cockled, oblong 8vo (21 x 12.4 cm), [Genoa], 'Introduction à l'histoire de la famille D'Oria, de Gènes', 1844, manuscript in black ink on light blue wove paper, 31 leaves, written mainly rectos only, hand-painted illuminated coat of arms on leaf of thicker paper stock, initial blank annotated 'I copied this M.S. at Florence in the month of May 1844 from the original M.S. sent to me by the author Count Gräberg de Hemsö, librarian of the Pitti Palace. F. C. Brooke', contemporary Italian half vellum, 8vo (19.8 x 13 cm), and 1 other item (album of pencil sketches including views of Dover, 1907 , front cover detached) (Qty: 4)NOTESProvenance: First item only: Thomas Ashby (1874-1931), British archaeologist in Italy and director of the British School at Rome (bookplate, annotated 'Vespignani sale, March /00, 957, 16-50'; the note may refer to Italian neoclassical architect Virginio Vespignani (1808-1882)). All items: Professor Cecil H. Clough (1930-2017), reader in medieval history, University of Liverpool. The first item contains two studies of fountains at the villa d'Este in Tivoli but mainly contains designs for submission to the Accademia di San Luca and other purposes, with captions as follows: 'Progetto d’un eremo per un religioso, presentato alla Accademia della pace l’anno 1812'; 'Idea per riduzione d’una sala … nell’Accademia Romana di S. Luca, ad uso della pubblicita premazioni, presentato all’Accademia de S. Luca l’anno 1814'; 'Altra idea par la sudetta sala all’istasio uso, presentato all’Ac[c]ademia d S. Luca l’anno 1814'; 'Idea per l’aspetto d’una piccolo casa private, fatto per eseguire in l’anno 1815'; 'Memoria da erigersi sopra una sepottura con l’appoggio alla parete che forma recinto dell’arca[?] [...] la Chiesa di Cavallere nel Tivolo, fatta per eseguire l’anno 1816'; 'Tinello con sala di ricreazione al di sopra, seguita su la vetta di una collina presso la Magliana per il Sig. Lugi Righetti l'anno 1827'.
Malleson (G. B.) , History of the French in India from the founding of Pondichery in 1674 to the capture of that place in 1761, London: Longmans, Green & Co., 1868, half-title, folding engraved map hand-coloured in outline, original cloth, rebacked preserving original spine, 8vo, together with: [Young, Gavin] , An Inquiry into the Expediency of Applying the Principles of Colonial Policy to the Government of India..., London: J.M. Richardson, 1822, contemporary straight-grain morocco, extremities a little rubbed, 8vo, India , On the Causes of the Progressive Depreciation of the Price of Grain prior to the scarcity; with Observations on the Madras Ryotwar System, Madras: Printed at the Church Mission Press, 1834, annotation at foot of title and copious notes to verso of final leaf, modern cloth-backed marbled boards, slim 8vo, Forbes (Charles) , An Appeal to the Inhabitants of Great Britain on behalf of the Native Population of India: in a Letter..., London: Thomas Bumpus, 1836, half-title, modern red cloth, slim 8vo Adelung (Friedrich von) , An Historical Sketch of Sanscrit Literature with copious bibliographical notices of Sanscrit books and translations, from the German of Adelung, with numerous additions and corrections, Oxford: D.A. Talboys, 1832, half-title with newspaper cutting adhered to verso, some scattered spotting, original cloth-backed boards, spine torn with slight loss, library number at foot, 8vo (Qty: 5)
[Slave Narrative]. The Life and Sufferings of Leonard Black, a Fugitive from Slavery, 1st edition, New Bedford, [MA]: Press of Benjamin Lindsey, 1847, 61, [3]pp., errata at foot of p. 61, a little spotting, stitched as issued in original pale green wrappers printed in black, minor soiling, corner curling and light wear to extremities, 8vo (140 x 115 mm) (Qty: 1)NOTESLeonard Black (c.1820-1883) was born in Maryland and lived as a slave for over twenty years. In his narrative Black writes of cruel masters and mistresses and the many trials he endured. He converted to Christianity in 1836 and decided to enter the ministry. Shortly thereafter, he ran away, following his three brothers to Boston, Massachusetts and later Portland, Maine in 1837. He returned to Boston, where he lived for several years before moving to Providence, Rhode Island with his wife. Black closes his narrative with an essay on slavery and a short poem, ‘The Travelling Pilgrim’. Black hoped that revenue produced from this short sketch of his life would provide funds for the furthering of his education, better equipping him for the ministry. Very scarce.
EDWARD WOLFE RA (1897-1982); ink sketch, 'Drawing a Young Girl', signed lower right, with paper label for Vincent & Louise Cosman verso, size 14 x 9cm, framed and glazed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
JACK HARTERT (1922-1975); chalk and charcoal sketch, 'Two Girls Reading', artist's identification and title to label verso with further Bristol Gallery Jack J. Hartert exhibition label verso, 26 x 36.5cm, framed and glazed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
A WWII medal group of six awarded to MX97451 P. Leigh Wireman Royal Navy, comprising Naval General Service Medal with 'Minesweeping 1945-51' bar, Royal Naval Patrol Service 1939-45, War and Defence Medals, 1939-45, and Atlantic Stars, accompanied by original and photocopied documents detailing his service including Torpedo History Sheet and Trade Certificate, an oil sketch depicting a Royal Navy vessel and a 'Royal Naval Patrol Service Sparrow's Nest Lowestoft' commemorative plate.
A charming and poignant WWI First World War interest autograph sketch book - containing various well-drawn cartoon, sketches and verses - many from serving soldiers. The book hand-dated 1911 carries right on through the war until 1918 or so. Noted within; several autographs of soldiers all marking themselves as 'wounded' with various details, several humorous cartoons, a double page ' Soldier's Life ' cartoon and comical list and other such entries. Some marked as being from Bristol Hospital, and many relating to a Private C. MacKintosh of the 6th Leicestershire Regiment. Fascinating autograph book.
An interesting collection of WWII Second World War related newspapers and ephemera. Includes x2 British Services Tattoo programmes from 1947 in Berlin, an April 10th 1940 edition of the Daily Sketch with headline ' Sweden Bows To Nazi Ultimatum,' 1945 Daily Mail ' Churchill Resigns - Attlee Forming His Cabinet,' an Aug 7th 1945 edition of the Daily Express with an atomic-bomb related headline, as well as a collection of WWII related photographs - many showing German / Red Army activities, including some macabre images. An interesting assortment.
NO RESERVE Napoleon.- Bombled (L.) Le Mémorial de Sainte-Hélène, 2 vol., colour illustrations, marginal toning, endpapers soiled, contemporary half morocco, spine gilt, Paris, 1895 § A Sketch of the Present State of France, later calf-backed boards, 1805 § Firmin-Didot (Georges) La Captivité de Sainte-Hélène, presentation copy signed by the author to half-title, plates, some very light spotting, contemporary morocco-backed boards, very lightly rubbed, 1894 § Itinéraire de Buonaparte..., 2 vol., half-title, torn with some loss, light foxing, endpapers soiled, contemporary calf-backed boards, rebacked, original spine labels laid down, Paris, 1817, and 69 others, Napoleon, St Helena, v.s. (75)
Pink Panther animated art production cel consisting of a printed colour background on paper, with an acetate overlay carrying artwork of a perplexed Pink Panther with annotations to bottom rim, plus a further pencil sketch of the (same) Pink Panther, 11 x 13 ¼ inches & 10 ¾”x 12 ¼ inches. Provenance: ex-Cineart Gallery, London. .
Théo van Rysselberghe (1862-1926)Femme laçant une chausseure stamped with atelier stamp, inscribed and dated 'Jersey/1907' (lower right)pencil on paper 26 x 20cm (10 1/4 x 7 7/8in).There is a further pencil sketch of a woman's head on the reverse.Footnotes:The authenticity of this work has kindly been confirmed by Monsieur Olivier Bertrand.Provenance JPL Fine Arts, London. Stock no. V/RYS/4/0053.Private collection, UK., acquired from the above.LiteratureRoland Feltkamp, Theo Van Rysselberghe - Catalogue Raisonné, Paris, 2003, illustrated p. 365, no. 1907-023.For further information on this lot please visit Bonhams.com
Mary Ellen Best (British, 1809-1891)'Portrait of Frank, Caroline and Fred, November 1845' signed and dated 'Mary Ellen Sarg 1st November 1845' (lower right)watercolour heightened with gum arabic25.4 x 18.1cm (10 x 7 1/8in).Footnotes:ProvenanceThe family of the artist by descent. LiteratureCaroline Davidson, The World of Mary Ellen Best, London, Chatto & Windus Ltd., 1985, illustrated in colour p. 131, fig. 128.Mary Ellen Best was born in York, October 1809 to Dr Charles Best, a prominent Yorkshire physician, and Mary Norcliffe Dalton daughter or a Yorkshire landowner. Dr Best died when Mary Ellen was only eight, leaving her to be raised by her mother, who never remarried, and her two sisters. Inheritance from her mean that a good education was affordable and that she would not have to work for a living or marry for financial reasons, leaving adequate time to study painting both at Mrs. Haugh's school in Doncaster and later Miss Shepherd's school in Bromley. In 1828 Best returned to Yorkshire to embark on a career as a painter. Lot 31 is a sketch book dating from this period when Best was still learning here trade and taking every opportunity to practice, travelling throughout Yorkshire sketching landscapes, country houses and churches They are testament to the dedication shown by the young artist and a great marker for her progression.Best travelled extensively in Europe during her career, her first trip being in 1934 with her mother. Instead of following the well beaten track to Italy the pair travelled through Holland into Germany, stopping at Rotterdam along the way. The view of Rotterdam, lot 28, was likely either painted during the brief stay during this first trip or during her second foray onto the continent in 1938 when she spent two months exploring Holland, including a stay in Leyden as seen in lot 29. This second trip came after the death of Best's mother in March 1837. The inheritance Best received at this time meant she could live comfortably without having to sell to dealers or exhibit her work and afforded her the luxury of being able to travel as much as she pleased. Indeed, it is clear that Best enjoyed travelling, returning for a three month tour in June 1939 including a stay in Dusseldorf to paint the town's colourful costumes as seen in lot 27.It was late September in Dusseldorf, during this trip, that Best met her future husband, Johann Anton Phillip Sarg, a German schoolmaster and ambitious musician. In what appears to be whirlwind romance she left Dusseldorf a few weeks later engaged to marry, the wedding taking place on the 15th January 1840. The couple spent the early stages of the married life in Nuremburg and Frankfurt during which time they had three children Frank, Caroline and Fred. The family returned to England intermittently but lived mainly in Germany and Belgium. Mary Ellen Best died of pneumonia in Darmstadt in May 1891at the age of eighty-one. An appreciation of Best's watercolors is best supplemented by Caroline Davidson's comprehensive work on the artist's life and oeuvre (The World of Mary Ellen Best, Chatto & Windus Ltd., London, 1985) which features most of the present collection.For further information on this lot please visit Bonhams.com
Augustus Edwin Mulready (British, 1844-1905)'At the corner of a London street' signed and dated 'A E Mulready/1896' (lower left); further signed, inscribed and dated ''At the corner of a London Street,'/Studio sketch,/A E Mulready/1896' (on the reverse)oil on board25.4 x 20.3cm (10 x 8in).For further information on this lot please visit Bonhams.com
Sir Alfred James Munnings, PRA, RWS (British, 1878-1959)Dinner party with Gully Nickalls signed, inscribed and dated 'Rackheath/July 20th/1929/AJMunnings' (upper right)pencil28.6 x 39cm (11 1/4 x 15 3/8in).Together with another pencil sketch of the same dinner party with extensive water damageThis 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
A Regency mahogany chamber table, attributed to Gillows, circa 1815, the rectangular top with rounded corners and incorporating a hinged compartment to the rear, above a frieze drawer, on turned and reeded tapering legs, terminating in brass caps and castors, 73cm high, 68cm wide, 47cm deep For an almost identical model of table see Christie's London, Important English Furniture, 14th June 2001, Lot 177.A sketch for this type of table appears in Gillows Estimate Sketch Books dated 1810. Gillows Supplied four tables of this pattern in 1811 to T.W. Egerton for Tatton Park, Cheshire.
A George IV mahogany library table, by Gillows, circa 1825, the rectangular top with rounded corners and moulded edge, above two frieze drawers, the turned and reeded supports above bead moulded plinth bases and turned bun feet in castors, one drawer stamped 'GILLOWS LANCASTER', 74cm high, 151cm wide, 75cm deep Provenance: Private Collection, North Yorkshire For closely related designs of library table, see Gillows Estimate Sketch Books, 24th September 1824, design no. 3371, and for 1828, design no. 3684. In 1828 this model of table was supplied to William, 4th Earl Fitzwilliam for Wentworth House. For a related library table, see also Christie's South Kensington, 13th September 2007 (£12,500).
A George IV mahogany adjustable folio stand, in the manner of Gillows, circa 1825, the angle adjustable rests of trellis design, above the adjustable action and twin trestle uprights, above outswept legs terminating in brass caps and casters, 96cm high, 60cm wide, 71cm deep when closed Provenance: Rushbrooke Hall, Bury St. Edmunds A design drawing for a closely related folio stand exists in Gillows Estimate Sketch Books for the same period. For a related folio stand, see Christie's London, Fasque, The Scottish Seat of the Gladstones, 7th May 2008, Lot 158 (£6,000).
Lloyd Birmingham (Connecticut, Born 1924) "Reef Life" Watercolor painting. Signed lower right. Painting also comes with small watercolor sketch. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands Stamp Booklet issued May 26, 1993. The coral reefs are filled with a myriad of convoluted shapes and brilliant hues. No scene in nature quite equals the coral reef with marine life darting about the pristine enviroment. The marine life pictured in this artwork are Butterflyfish, Soldierfish, Damselfish, Filefish, Hawkfish, Surgeonfish, and Parrotfish. Sight Size: 12.5 x 36.5 in. Overall Framed Size: in. Framed behind glass. (B14316)
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