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Lot 295
Collection of seven original auto magazine sketches C1940's to include pen and ink drawings by George Lane, 'Dawsons Diversions' (20.3x20.1cm), 'Look out here comes a V8' (23.9x20.1cm) and 'Plugs into retirement' (20.2x22.5cm), a crying motorist in car and 2 others. Also included an Autocar magazine isometric pencil sketch titled "Suggestions For 6 to 8 HP Utility Car" by H Connolly (lower half torn away and attached to backing board, 28.3x24.8cm)
Lot 1237
Y FRANK MABBOTT (Sheffield Artist, XX Century) *ARRChapel and Cottage on the Village Green, Foolow, Derbyshire, watercolour, signed lower right,24.5 x 32cm.Another, by the same hand, 'Farm at Clouch Fields, Crookes, Looking Up the Rivelin Valley', watercolour, signed lower right,24 x 32cm.A Pencil Sketch of Oughtibridge. (3)
Lot 1193
Y GEORGE CUNNINGHAM (Sheffield Artist, 1924-1996) *ARRYoulgreave Fountain, watercolour, signed lower left, Hibbert Brothers labels and inscribed by the artist and dated 28th July 1987 verso, Hibbert Brothers receipt dated 17/4/99 for £1800,33 x 44cm.A sketch for the picture in pen and ink. (2)
Lot 1082
Stephen Renard (b.1947)Yachting off the coast Mixed media, together with a further drawing probably by the same hand depicting a red sports car, a sketch book containing works by the same hand, a pencil sketch by J Steven Dews depicing Australia Day, Sydney, 1988, and further pencil sketches by the same artist to include a yachting scene, "True Briton leaving East India Dock", "Idina loading ordnance at Woolwich for the Crimean War" and "Guerriera and Constitution", 23.5cm by 34cm and various other sizes, all unframed (a collection)
Lot 5
Collins (Ian) Bird on a Wire: The life and art of Guy Taplin, Marlow, 2007 § Taplin (Guy) Birds of Creation, Sonning-on-Thames, 1998 § LeGrove (Judith) Geoffrey Clarke: A Sculptor's Materials, signed by the author on title, Bristol, 2017 § Barker (Ian) Anthony Caro: Quest for the New Sculpture, 2004 § San Lazzaro (G. di) Homage to Calder, with an original colour lithograph, Paris, 1972 § Physick (John) Designs for English Sculpture 1680-1860, 1969, the first two signed & inscribed by Taplin on title, the first with sketch of bird, plates and illustrations, many colour, original cloth or boards with dust-jackets; and c.30 others, sculpture, mostly modern including several more by Taplin, some signed, 4to & 8vo (c.35)
Lot 458
Elizabeth Barrett Browning. An album of sketches and manuscript copies by the Barrett's and their circle, including 'The Sea Side Walk' signed 'EBB' with a note 'Sidmouth August 17th, Monday evening, 1835', 2pp., and a further untitled poem, commencing 'For ever since my childhood looks/Could rest on nature's pictured books..', in six stanzas, also signed 'EBB', 2pp., together with a watercolour sketch by J. Varley, signed in pencil, and other sketches and drawings, the title page inscribed 'Arabella Barrett, Hope End June 13th 1831', contemporary morocco, 4to; together with a notebook with an outline for a play, possibly by Octavius Barrett Browning. PROVENANCE: From the family of Octavius Moulton-Barrett (1824-1910), youngest brother of Elizabeth Barrett Browning, thence by descent. RARE. The album was a gift to Arabella Moulton-Barrett from Eliza Cliffe. 'The Sea Side Walk' by Elizabeth Barrett Browning was first published in The Athenaeum. 2 July 1836, and collected in 'The Seraphim, and Other Poems', 1838. This appears to be a fair copy in the author's hand. The untitled poem is 'Minstrelsy', and also a fair copy in the author's hand. The album also contains 'A Short Catechism on the Subject of Albums' by Edward Moulton-Barrett, 2pp., several lines from William Wordsworth's 'The Fountain', transcribed by Henrietta Moulton-Barrett, and a copy of 'A Couplet, Written in a Volume of Poems...' by Samuel Taylor Coleridge, transcribed by Arabella Moulton-Barrett, 1p.Mixed condition.
Lot 1163
Arnold Beauvais (British 1886-1984), Still life of Mimosa and Chinese lanterns with a green glass decanter on a windowsill ; Still life of Rudbeckia daisies, two, one oil on canvas laid on board with an oil sketch of a castle verso, the other oil on canvasboard, the second signed lower left, the first 42 x 32.5cm.; the second 29 x 39cm. (2) FramedCondition Report: Mimosa still life, canvas is lifting off the board, needs laying down properly, some water damage to right hand side of daisies, both need cleaning.
Lot 498
Gaspare Diziani, 1689 Belluno – 1767 Venedig, zug.ALLEGORIE DER THEOLOGISCHEN TUGENDENÖl auf Leinwand. Doubliert.71 x 52 cm.In dekorativem vergoldetem Rahmen.Auf dem hochformatigen Gemälde mit gemaltem, nach oben abgerundetem Rahmen werden vor hellblauem Himmelshintergrund auf weißen Wolken durch weibliche Figuren, Putti und Kinder die drei theologischen oder christlichen Tugenden Glaube, Liebe und Hoffnung dargestellt. Der Glaube wird symbolisiert durch das Kreuz, das oben links ein Putto hält und durch einen Kelch mit Hostie in den Händen einer jungen, edel gekleideten Frau auf der Wolke. Die Liebe wird dargestellt durch ein rotes Herz in der ausgestreckten Hand eines weiteren Puttos, die Hoffnung schließlich durch einen großen Anker in der Hand einer links unten sitzenden Frau. Malerei in zurückhaltender Farbgebung.Das Gemälde, das eher ein vollendetes Werk als eine Skizze ist, dürfte aufgrund der plastischen und ausgeprägten Konstruktion der Figuren und der Farbgebung in das vierte Jahrzehnt des 18. Jahrhunderts, in die zentrale Phase von Dizianis Schaffen, datiert werden. Diziani wird längst als der wichtigste Nachfolger seines Lehrers Sebastiano Ricci (1659-1734) angesehen. Ab 1717 hielt er sich in Dresden auf, von August III berufen. Zwischenzeitlich entstanden 1718 vier Supraporten in der Residenz München, später wirkte er in Rom und Venedig. Dizianis beide Söhne Antonio (1737-1797) und Giuseppe (1744-1821) arbeiteten mit ihm bei seinen umfangreichen Aufträgen zusammen. (1320014) (18)Gaspare Diziani,1689 Belluno – 1767 Venice, attributedALLEGORY OF THE THEOLOGICAL VIRTUESOil on canvas. Relined.71 x 52 cm.The painting, which is more of a finished work than a sketch, can be dated to the 1840s, the main phase of Dizianis oeuvre, due to the pronounced and three-dimensional construction of the figures and the colouring.
Lot 6
Urban Stanley Couch (American, 1927-2007). Oil on canvas painting titled "#4" depicting a square composed of bands in blues, greens, and yellow, 1966. Signed, dated, and numbered along the verso.Provenance: Private Minnesota Collection.Lot Essay:Urban Couch was born in Minneapolis, Minnesota. He graduated from Minneapolis School of Art and Design (now MCAD) before serving in the Navy in World War II. While serving he painted murals at Treasure Island and was known to always carry a pad of paper in his pocket to sketch. He drew influences from Japanese art as well as the pre-WWII German Bauhaus movement.His works are held in the collections of the Minneapolis Institute of Art, the Walker Art Center in Minneapolis, the Sioux City Art Center, as well as others.Unframed; height: 16 in x width: 18 1/4 in. Framed; height: 16 3/4 in x width: 19 in.
Lot 89
Samuel Melton Fisher, RA, RWA, PS (British, 1859-1939)Venetian costume makers signed and dated 'S.Melton Fisher.1888.' (lower right); further signed, titled and inscribed with artist's address 'Venetian costume makers/S. Melton Fisher/3575. Calle del Cristo/S.Angelo. Venice' (on artist's label attached to reverse)oil on canvas103.5 x 135cm (40 3/4 x 53 1/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 6 November 1996, lot 325. Private collection, UK. ExhibitedLondon, Royal Academy, 1888, no. 583.LiteratureArt Journal, 1888, p. 128. H. Blackburn (ed.), Academy Notes, 1888, pp. 12 and 77 (sketch illustrated).The Graphic, vol. 38, July-December 1888, illustrated.Alfred Lys Baldry, The Paintings of S. Melton Fisher in The Studio, vol. 42, 1908, pp. 176-181. Christopher Wood, The Dictionary of Victorian Painters, Woodbridge, 1995, p. 171.'The subjects he chose were characteristic of modern Venetian life; his canvases were records of his observation of the people among whom he found himself, and by their brilliant reality and clever statements of picturesque facts gained the approval of everyone who was qualified to judge his work' (Alfred Lys Baldry, The Studio, 1908)Fisher studied at the Lambeth School of Art and Royal Academy Schools between 1876 and 1881, winning a gold medal and a travelling scholarship; travelling to Paris, he studied with Jules Bonnaffé. His work In Realms of Fancy was purchased by the Chantrey Bequest in 1898 and later in his life he returned to portrait and figure painting, possibly for financial reasons.Venice in the late 1800s was a popular destination for many artists; alongside Fisher were artists such as John Singer Sargent, James Abbott McNeill Whistler, Henry Woods and William Logsdail. The unusual beauty and uniqueness of the city was enchanting and for many artists, Venice was restorative and transformative for their practice. Artists in Venice would often focus either on the working-class Venetians engaged in daily activities, which provided a wealth of subject matter, or the complex play of light on the water, architecture and canal views or narrow streets. In the present lot Fisher has chosen to depict a group of women at work making costumes presumably in preparation for a festival. This subject provides the artist with a perfect opportunity to celebrate the light and shade in the room and the rich texture of the materials. The square brushwork is testament to the influence of Bastein Lepage and his British counterparts, in particular Stanhope Forbes and Albert Chevallier Tayler who had travelled to Venice the year before and had first met Fisher in Paris in 1881.For further information on this lot please visit Bonhams.com
Lot 79
Frederick Goodall, RA (British, 1822-1904)Portrait of Rica sitting in the bay window of Graeme's Dyke with pencil in hand and sketch book with a kitten oil on panel 55.9 x 45.1cm (22 x 17 3/4in).Footnotes:ProvenanceThe sitter.Bequeathed to her god-daughter, mother of the present owner, thence by descent. Private collection, UK.Alice Federica Goodall, known as Rica, was born in March 1876 which dates this portrait to the early 1880s. Goodall exhibited two portraits of his daughter at the Royal Academy, in 1894 and 1898. In both of these portraits Rica appears a young woman, they are near full-length portraits of her dressed in elegant blue and white dresses and appear in all aspects the work of a proud father.Graeme's Dyke, or Grim's Dyke as it is now known, is a storied house designed and built for Frederick Goodall by renowned architect Richard Norman Shaw between 1870 and 1872 at Harrow Weald. The house was sold by Goodall to Robert Heriot, partner in the private bank C.J. Hambro & Son, in 1880 who owned the property for ten years before it was acquired by Sir William and Lady Gilbert. Gilbert, one of England's foremost dramatists, famous also for his collaborations with Sir Arthur Sullivan, made several architectural additions to the house and created a small home farm in which Jersey cows, pigs and poultry were kept. Lady Gilbert turned her attention to the neglected grounds, creating formal gardens, the results of which can still be seen today. The house is currently used as a hotel and in recent years has been used as a location for filming. It has featured in, among other productions, The Saint (1962), Doctor Who: The Evil of the Daleks (1967), EastEnders (2003) and Little Britain (2004).For further information on this lot please visit Bonhams.com
Lot 16
DARWIN (CHARLESOn the Origin of Species By Means of Natural Selection... Third Edition, with Additions and Corrections. (Seventh Thousand), half-title, one folding plate, advertisement leaf at end, pp.121-23 and plate loose, pp.73-120 working loose, ink numeral '5' on front free endaper, paper 'pocket' pasted on front pastedown, publisher's blind-stamped green cloth gilt, with Edmonds & Remnants binders' ticket inside lower cover, rubbed, spine ends turned with short tear at upper edge [Freeman 381], 8vo, John Murray, 1861Footnotes:This third edition ('seventh thousand') edition is the first to include Darwin's 'Historical sketch of the recent progress of opinion of the Origin of Species,' in which he describes his predecessors, those 'few naturalists... [who] believe that species undergo modification, and that existing forms of life have descended by true generation from pre-existing forms'.Provenance: ?T.E. Miln, pencil inscription on half-title.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 10
SOCIETY FOR THE DIFFUSION OF USEFUL KNOWLEDGEThe Complete Atlas of Modern, Classical and Celestial Maps, together with Plans of the Principal Cities of the World, 226 hand-coloured engraved maps (numbered 1-218, and bis numbers, including 49 city-plans and 6 star-charts), some double-page with 2 numbers per sheet, title, additional 'Sketch map of Dr. Livingstone's Discoveries' pasted inside upper cover, preliminaries and opening map loose, occasional light spotting (heaviest to plate 1), 2 with short tear to blank margin, contemporary half calf, titled in gilt on upper cover, g.e., worn, upper cover detached, folio (440 x 360mm.), Edward Stanford, 1873Footnotes:Maps include United States (16 sheets), China (2), World (3), and Australia (3), with city plans including New York, Philadelphia, London (double-page), Canton, Moscow and St. Petersburg.Provenance: William Lawson, early ownership inscription on front free endpaper.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 164
• LIONEL BULMER (BRITISH 1919-1992) TWO SKETCH BOOKS CONTAINING 112 SKETCHES INCLUDING BATHERS ON THE BEACH, SUNSET SERIES, VIEWS OF A GARDEN AND NUDE STUDIES, SOME WITH ARTIST'S ANNOTATIONS some pen and ink, some watercolour and wash the larger book 44.5 x 28cm/17 1/2 x 11in the smaller book 23 x 18cm/9 x 7in (2)
Lot 63
• EDMOND XAVIER KAPP (BRITISH 1890-1978) SELF-PORTRAIT - THE ARTIST SEATEDsigned and dated Kapp '38 lower rightoil on board61 x 46cm; 24 x 18in (unframed)Self-portraits by Kapp are rare; the only other recorded self-portrait is a charcoal sketch he drew of himself at his easel in his studio in Beausoleil, France in 1954; it is of virtually the same dimensions as the present work (collection of the Victoria & Albert Museum, London).
Lot 29
• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 29-51)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lot 50), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath (lot 48) and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea (lot 49). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, whether sketching his surroundings (lot 29), or studying the model before him (lots 30 & 31), he captures the scene before him with a fine eye for detail. And as a colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 35 & 36). But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The reference for the travelling exhibition abbreviated in lots 29-51 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96 29HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) VIEW FROM THE ARTIST'S STUDIOpencil on paper 16.4 x 33cm; 6 1/2 x 13in (unframed)There is a partial sketch of a seated female figure on the reverse.
Lot 60
• EDMOND XAVIER KAPP (BRITISH 1890-1978) Edmond Xavier Kapp (lots 60-71) Oh to be silent! Oh to be a painter! Oh (in short) to be Mr. Kapp (Virginia Woolf) Introduction Widely remembered for his portraiture, in particular his distinctive form of character types (he did not like his work to be describe as caricature), Kapp was a highly versatile artist with an enquiring mind and a love of music. Appreciated in his lifetime also for his poetry and his evolving interest in abstraction, he aspired to write, mixed with the leading artists of the day and attracted the attention of critics and the cognoscenti. The following twelve lots from his estate capture the singularity of his artistic vision and his constant thirst for innovation. Born in Islington, London, the son of Jewish-German parents, Kapp studied in Berlin, Paris and Cambridge, where he had his first exhibition, wrote for Granta and the Cambridge Magazine and attracted the attention of Max Beerbohm. While a 2nd Lieutenant with the Royal Sussex Regiment in the First World War, he sketched portraits of his fellow soldiers to amuse them in the trenches, including the young poet Edmund Blunden, and crossed paths with William Rothenstein at Amiens, a meeting Rothenstein recalls in his autobiography Men and Memories. After the Armistice Kapp held his first one man exhibition at the Little Art Rooms, Adelphi, London, the catalogue introduction written by Beerbohm. Commissions followed, together with the publication of his first book: Personalities published in 1919 and reviewed by Virgina Woolf in her essay Pictures and Portraits. Prominent figures who featured in his early work included Edwin Elgar, Percy Wyndham Lewis and Richard Strauss. Later, after the War, subjects ranged from Albert Einstein (1923) to the Duke of Windsor, the future King Edward VIII (1932); of leading personalities in the arts he captured the characters of Aldous Huxley and Noël Coward. Kapp typically rejected supplying caricatures to newspapers, preferring to choose his own subjects. But he did take on commissions, such as his series Ten Great Lawyers published in 1924 in the Law Society Journal. And his work appeared in a wide variety of periodicals, most notably Time and Tide, output that resulted in the publication of further volumes of his collected portraits, and an exhibition of his work at The Leicester Galleries, the leading contemporary gallery in London of the day. In 1922 Kapp married Yvonne Meyer, journalist, photographer, translator and writer, now best known for her biography of Eleanor Marx. On their honeymoon the young couple visited Beerbohm in Rapallo and settled the following year in Rome where Kapp studied at Sigmund Lipinsky’s art school and under Antonio Sciortino at the British Academy. There too he met the American painter Maurice Sterne who encouraged him to paint in oil. Kapp also developed his interest in lithography as a means to sell limited editions of his more well-known sitters. It led in 1935 to a commission for portraits of twenty-five delegates to the League of Nations in Geneva. Publication of the series brought him to the attention of Pablo Picasso, and the beginning of a close friendship between the two artists. Kapp captured Picasso’s profile in a sketch of him in his studio at 23 Rue La Boetie, Paris in 1938, purportedly the only likeness for which Picasso agreed to sit (collection of the Victoria & Albert Museum). And there are relaxed and informal photos of Picasso in bathing trunks snapped by Kapp in 1948 outside the restaurant Chez Nounou and the Hotel de la Mer in Golfe Juan when holidaying with Picasso in the South of France. During the Second World War Kapp was an Official War Artist; after the War he worked as an Official Artist to UNESCO. He kept a studio at 2 Steeles Studios, Haverstock Hill in Hampstead, North London (lots 67 & 71) and in Beausoleil, near Monaco in the Alpes Maritimes (lot 61), and explored abstraction. String Quartet (lot 71) suggests his interest in synaesthesia and the work of Kandinsky; his playful Dragon Flight (lot 69) invokes the wit of Paul Klee, while the exploration of his medium in Abstract Composition (lot 69) is suggestive of fellow experimental artist Max Ernst.60EDMOND XAVIER KAPP (BRITISH 1890-1978)PORTRAIT OF A LADYsigned Kapp lower left; dated 1958 lower rightoil on canvas92 x 60.5cm; 36 1/4 x 23 3/4in (unframed)
Lot 50
• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) FOREST FANTASY signed with initials and dated 46 lower rightgouache on card29 x 15cm; 11 1/2 x 6in (unframed)Executed in the late 1940s, the present work may well be a preparatory sketch for the artist's decorations of the tea room at the Victoria and Albert Museum completed for the post-War rallying exhibition Britain Can Make It held in 1946. For sketches for the tea rooms see Olympia Auctions, 11th October 2023, lots 52 & 53.
Lot 128
Battle of Talavera Interest :- a Hand Written Letter from Lieutenant Charles Bayley, Adjutant 2nd Battalion 31st (Huntingdonshire) Regiment to his Fiance Miss Sally Smith, Fitzwilliam Street, Dublin, dated 30th July 1809 and which describes the Battle of Talavera in graphic detail ".....we found our officers and men falling all around us ... we had no alternative but run upon them with the bayonet -- however numbers overpowered us -- they had at that time in the wood 23,000 -- we only 2,900 ... it fell to our lot to be fronted to a column of 3,000 -- these we were ordered to charge with the bayonet which put them to rout ... never have troops gained more Honour than in these last two days...", displayed in a glass backed display frame with transcript; also, a framed pencil portrait sketch of the Duke of Wellington with inscription "Drawn from recollection after having sat next him at dinner at Ld. Palmerston's"; a framed portrait engraving of Wellington; and a framed copy of the Times newspaper dated London, Tuesday, June 22nd, 1815 (4)Footnote : - Lieutenant Colonel Charles Andrews Bayley, C.M.G., originally served with the 25th. Regiment in Egypt, 1801; Ensign 1804, Lieutenant 1805; served with the 31st. Regiment in the Peninsula from 1808 and was present at Alberche, the taking of Oporto, 12th. May 1809 and took part in the Battle of Talavera, 27th./28th. July; appointed Deputy Assistant Adjutant General, January 1810 attached to the 2nd. Division under Lord Hill; took part in the retreat to the lines of Torres Vedras, the subsequent advance and general pursuit of Massena; was present at the first seige of Badajoz, the affairs of Campo Mayor, Olivenca and other minor actions during the operations in Estramadura under Marshal Beresford; took part in the battle of Albuhera 16th. May, 1811 and at the action of Arroyo de Molino (promoted for his services); Captain, 36th. Regiment, January 1812; appointed Governor of the Mediterranean Islands of Gozo and Comino, 1827; Major 1830 (C.M.G., 1833); local rank of Lieutenant Colonel, 1841, substantive, 1846; Lieutenant Colonel Bayley died in Malta, 1852
Lot 369
AFTER RICHARD DIGHTON "Hudson Gurney", black and white engraving published April 1820, 28.5 cm x 18.5 cm, together with AFTER RICHARD DIGHTON "Is friend Rothschild on Change?", black and white etching published March 1826, 30 cm x 19 cm (2),together with a pencil sketch of "William Henry and Carwithen", dated 1831 and bearing inscription verso, 20 cm x 16 cm, together with a print of "Two boys with a dog", 24 cm x 19 cm (4)
Lot 262
An autograph book compiled by Ida Redfern (inscribed by him and dated 1909 to front free endpaper), early 20th century, containing numerous autographs, many from musicians and performers, to include Proms conductor Henry Wood (dated 1911), Dame Nellie Melba (dated 1911), Dame Cicely Courtneidge (dated 1914) and her husband Jack Hulbert, one page illustrated with a comic watercolour sketch by W. Barton Wilkinson titled ‘The Reception’ CONDITION REPORT:Other signatures include:Charles DalmorèsVincent NeedhamArthur HalfpennyDaniel S WoodArthur HandsW Forrest-Hague
Lot 200
Joseph Mallord William Turner RA (1775-1851) The Entrance to Bishop Vaughan's Chapel, St David's Cathedral, Wales signed and inscribed in Turner's hand to the reverse 'Bishops [sic] Vaughan Chapel St David's Cathedral / W Turner' watercolour 32.5 x 24.5cm Provenance: A Suffolk country house collection since at least 1990 The present, hitherto unrecorded, composition draws upon Turner’s 1795 tour of South Wales and is the only fully worked up watercolour of St David’s, Pembrokeshire. His South Wales Sketchbook (Turner Bequest XXVI) includes four architectural studies which relate to his visit to St David’s, two of which are inscribed with Turner’s own title in his hand – St David’s: Part of the Ruins of the Bishop's Palace (folio 35); “Bishops [sic] Throne, St Davids Cathedral ” (folio 36); “Bishops Vaughan [sic] Chapel “ (folio 37) and St David’s: Porch of the Great Hall of the Bishop’s Palace (folio 40). The itinerary of Turner’s summer tour of 1795 is transcribed in another hand on the inside front cover and first two flyleaves of the sketchbook and details his journey starting at Wells, Somerset, making his way to Wales and visiting Picton Castle just before St David’s. Setting out from Haverfordwest, Turner travelled ’36 miles and back’ and disappointingly noted in his own hand ‘no inn ‘ (ibid, first flyleaf verso, p. 3 of itinerary). Judging by Turner’s own annotations which designated all places with 'good inns’ along the way with an ‘x’ (see Andrew Wilton, ‘Inscriptions by Turner and Another Hand: A Welsh Itinerary and Notes 1795 by Joseph Mallord William Turner’, catalogue entry, April 2012, in David Blayney Brown (ed.), J. M. W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012) Haverfordwest was a good place to stay which is perhaps why Turner returned there after his trip to St David’s. This watercolour is closely based on the preparatory sketch of the same subject in the South Wales Sketchbook (folio 37, 26.4 x 20.3cm, see illustration below). That sketch which Turner himself inscribed with the title “Bishops Vaughan [sic] Chapel “ in the bottom right corner is similarly inscribed as the present watercolour on the verso “Bishops Vaughan [sic] Chapel St David’s Cathedral ” (see illustration below). The view, in fact, depicts the entrance to Bishop Vaughan’s Chapel with the ruins of St Mary’s Chapel in the left foreground. The chapel was built in 1509 for Edward Vaughan (Bishop 1509-1522) as his chantry chapel and burial place and was dedicated to the Holy Trinity, the name under which it is now known. The effigy which appears in the foreground of both works is that of John Hiot, Archdeacon of St David’s from 1400-1419. Turner depicted the intricate architectural detail with extraordinary accuracy, also recording the poor state of the building and the unroofed condition of the North Choir and Chapel Aisles as they were in 1795. The viewpoint, however, that he chose is taken from the North Chapel Aisle and so attests to Turner’s imaginative use of lighting and perspective as the small door to the right would, in fact, be invisible from this angle. The present watercolour epitomises Turner’s early architectural drawing and was almost certainly worked up from the preparatory sketch back in his London studio as a private commission for one of his patrons or friends. We are grateful to Andrew Wilton for confirming the attribution first hand and for his assistance with this catalogue entry. Watercolour with pencil underdrawing on laid paper watermarked J Whatman. Watermark is visible under raking light. On paste board, in a modern acid free mount. Hinged at the top with tape. Had previously been stuck down onto another support. 12 blobs of animal based adhesive to verso. Faint graphite marks to the reverse. A tiny tear on the left hand side about third way up from the bottom. A little tear on the right hand side, third of the way down. A fracture in top right corner. Creases in bottom left and right corners. Faint polishing marks seen in reflected light inside the arch and in bottom left corner. A small abrasion inside the arch on the right hand side. Area of discolouration in the sky across most of the top edge. Insect damage near the centre of top edge. Small brown spots of foxing visible in the sky. Paper little discoloured, but colours are good. Under raking light 5 tiny spots of mould visible mostly in the bottom half. Slight dents along the right edge. Indentation near top left corner. Wetransfer link for high resolution images: https://we.tl/t-DxHWxadHla
Lot 549
Alfred Wainwright (1907-1991), an original pen and ink drawing South of Swirl How, titled and signed in green ink. 16.5 x 21.5 cm, framed and mounted ARR (see illustration). CONDITION REPORT: The sketch is in generally good condition. The paper is generally discoloured and has a slightly brown hue. The green ink title and signature are faded. There are two Tippex marks on the mount. The picture is well mounted and in a simple frame which does have a small crack to one side where the picture hook is screwed in.
Lot 390
A VICTORIAN PHOTOGRAPH ALBUM, inscribed ‘To Carrie and Fred Grundy from Dr & Mrs Garden ‘The Fort’ Delhi – Pruyak-India January 1877’, starting with an image of ‘Proclamation of Queen Victoria as‘Empress of India’ –Delhi. January 1st 1877’, and includes images of 1st and 2nd Battalion 6th Royal Regiment, The Left Wing School of Musketry, Hythe, Kent with named sketch of men views in India, Sketches by ‘Captain F L Grundy 6th Regt, 12 Northgate Street, Warwick’, HM Troopship Crocodile and HM Troopship Jumma, various British cathedrals, assorted newspaper clippings and another album of military group photographs from late 19th and early 20thcentury (2) Customers must satisfy themselves prior to sale in regards to conditions and authenticity, viewing is advised, condition reports are available on request
Lot 11
The remaining personal effects of Major General Sir Samuel Benfield Steele (Medonet, Canada 1848- London 1919), Boer War and World War One interest: four album of signatures, birthdays, songs and poetry, the first made up by Flora Steele between 1906-1913, including Winston Chruchill-cut out-F.C. Selous, Fredrick Roberts (bobs) on War Office paper, an interesting humorous sketch 'The Joy Riders', various house guests and family members, the second 1916-18 mostly of sketches made by Canadian, Australian and New Zealand artists, a the third a gift from her mother- mostly poems and signatures relating to Flora's travels1918-1922, the fourth hardly used mostly dated 1916- Eastwell Park visitors book?, in a cardboard box addressed to Lieutenant Colonel Harwood Steele, (4).
Lot 68
WWI First World War Interest - a c1912 to 1918 period autograph album, filled with period sketches, poems and verse, some of a Wartime theme. Includes: verse by Ellen Thorneycroft Fowler (believed to be written by her), pencil drawing of a ship dated 1918, two watercolours of period ladies initialled 'KW', watercolour harbour scene by one Jessie Ray, a superbly executed sketch of a Pierrot clown dated 'Xmas 1917,' a sketch of a soldier, and other entries. Generally well executed paintings and sketches.
Lot 150
The effects of one 31393 Katherine Clarke QMAAC (Queen Mary's Auxiliary Army Corps) based at the Advanced Motor Transport Depot, Abbeville, France c1918 - the collection comprising: - her WWI First World War Victory Medal and War Medal - both impressed 31393 Wkr. K. Clarke QMAAC, with original ribbons. - two of her original WAAC (Women's Auxiliary Army Corps) uniform badges, - Three extensively filled diaries from 6th May 1918 to Sept 16th 1919 - which goes into great details from her training in Folkestone, arrival at Boulogne, arrival at Abbeville, bombing raids, general working practises, leave trips, right up to 'Peace Day' and everything in between. Several bombing raids on the local village are noted, including a raid on a hospital, there are several instances where the QMAAC regiment had to run for cover in a 'pit'. A fascinating and unique archive of events during Clarke's service. - Clarke was a prolific artist and sketcher, and the collection features five well-filled sketch books which accompany her diaries. Events told in her book also feature in her sketches. Includes various people she met during her service, meetings, soldiers, camp life, her friends, and many others. Hundreds of sketches feature. - Clarke also kept two autograph books and filled them with signatures and mementos from her time in service. The smaller book filled with all those she met or her fellow QMAACs in Abbeville and beyond. The larger book (green) - Clarke's personal photograph album c1918-1919, dealing with the very end of the war and into the WAAC's disbandment and her trips in France immediately after. The album well annotated with names, dates and places. Including views of the South African Hospital Abbeville (on The Somme), views of the WAAC camp, Advanced Motor Transport Depot (where Clarke appears to have been based), 'Our Visit To The Tank Corps', 'Reminiscences of the last AMTD Dance - Fancy Dress - 1919 ', 'Breaking Up The Unit April 23rd 1919', a camp at Rouen, 'E Group - Base MT Depot, Rouen,' Dieppe, 'German Prisoners Work Under Flags Of Victory After Peace Day,' battlefields (c1919), and several loose photographs and postcards. The final few pages are titled 'On Demob' and the final page a single image of Clarke labelled 'Grand Finale!! Rugby, Nov 19'. A unique and important collection of wartime diaries and other ephemera.
Lot 424
The Great Train Robbery - Sketch Master Products Board Game - an original vintage 'The Great Train Robbery' board game, appearing complete (unchecked) and autographed in several places by members of the gang. Signed to the box lid by Ronnie Biggs and Bruce Reynolds, the print of the box lid art signed by Biggs, Reynolds, artist David Weston and one other unidentified, the instructions ditto, and the two-piece board signed twice by Biggs and once by Reynolds. Box condition AF. Unique piece of Great Train Robbery memorabilia. The Great Train Robbery was the robbery of £2.6 million from a Royal Mail train heading from Glasgow to London on the West Coast Main Line in the early hours of 8 August 1963, at Bridego Railway Bridge, Ledburn, near Mentmore in Buckinghamshire, England. After tampering with the lineside signals in order to bring the train to a halt, a gang of fifteen, led by Bruce Reynolds, attacked the train. Other gang members included Gordon Goody, Buster Edwards, Charlie Wilson, Roy James, John Daly, Danny Pembroke, Jimmy White, Ronnie Biggs, Tommy Wisbey, Jim Hussey, Bob Welch and Roger Cordrey, as well as three men known only as numbers "1", "2" and "3". A 16th man, an unnamed retired train driver, was also present. With careful planning based on inside information from an individual known as "The Ulsterman" (erroneously named as Patrick McKenna in 2014), the robbers escaped with over £2.6 million (equivalent to £53.5 million today). The bulk of the stolen money was never recovered. Though the gang did not use any firearms, Jack Mills, the train driver, was beaten over the head with a metal bar. Mills' injuries were severe enough to end his career. After the robbery, the gang hid at Leatherslade Farm and famously used the money in a game of Monopoly - unwittingly incriminating themselves whilst doing so as the Monopoly set was used to garner finger prints of the suspects and was instrumental in the Police arresting most of the gang. The ringleaders were sentenced to 30 years in jail.
Lot 731
Twain (Mark) The Adventures of Tom Sawyer, London: Chatto and Windus, 1876, first edition, 8vo, later cloth boards.The rare true first edition, which preceded the American edition by six months.Not collated. Some clear condition issues. Extensive scuffing and rubbing to the later boards, with the spine coming loose. More general further damage to the guttering. Bears ink inscription and sketch to first page by former owner. Extensive internal foxing, and some tearing in places.
Lot 213
Leslie Duxbury ARCA 1921-2001 Quantity watercolours Landscapes, animals, skylines, in folder Leslie Duxbury was born in Accrington in 1921, he studied at Accrington School of Art, gained a place at the Royal College of Art in 1941 but was called to army service during WWII, however he was invalided out in 1943 and returned to the RCA. After the war he settled in London with his wife and family. In the 50's he was considered one of the 'Kitchen Sink School' of painters favouring harsh subjects of working class life. His oil on canvas 'Tenement Dwellers' was acquired in 1956 by the Arts Council and in 1984 his work was included in the Graves Art Gallery, Sheffield Touring Show 'The Forgotten 50's'. His work has been exhibited at the Royal Academy Summer Exhibition, Bankside Gallery, and local exhibitions in Wales and London. After part time teaching at various art schools throughout London he obtained a full time post at Kingston Upon Thames where he became a senior lecturer in the 70's until his retirement in 1986. He always carried a sketch book and drew views of London, the Thames, scenes in Wales and musicians at rehearsals in the Royal College of Music.
Lot 211
Leslie Duxbury ARCA (1921-2001) Quantity watercolour and pencil drawings Landscapes, figure studies and floral studies , all unframed, in folder Leslie Duxbury was born in Accrington in 1921, he studied at Accrington School of Art, gained a place at the Royal College of Art in 1941 but was called to army service during WWII, however he was invalided out in 1943 and returned to the RCA. After the war he settled in London with his wife and family. In the 50's he was considered one of the 'Kitchen Sink School' of painters favouring harsh subjects of working class life. His oil on canvas 'Tenement Dwellers' was acquired in 1956 by the Arts Council and in 1984 his work was included in the Graves Art Gallery, Sheffield Touring Show 'The Forgotten 50's'. His work has been exhibited at the Royal Academy Summer Exhibition, Bankside Gallery, and local exhibitions in Wales and London. After part time teaching at various art schools throughout London he obtained a full time post at Kingston Upon Thames where he became a senior lecturer in the 70's until his retirement in 1986. He always carried a sketch book and drew views of London, the Thames, scenes in Wales and musicians at rehearsals in the Royal College of Music.
Lot 210
Leslie Duxbury ARCA (1921-2001) Watercolour and ink "The Green Hat", head and shoulders of lady wearing green hat, 32cm x 25cm, exhibited at The Mall Galleries 1999 Quantity drawings and watercolours Figures, floral studies, landscapes, musicians, all unframed Leslie Duxbury was born in Accrington in 1921, he studied at Accrington School of Art, gained a place at the Royal College of Art in 1941 but was called to army service during WWII, however he was invalided out in 1943 and returned to the RCA. After the war he settled in London with his wife and family. In the 50's he was considered one of the 'Kitchen Sink School' of painters favouring harsh subjects of working class life. His oil on canvas 'Tenement Dwellers' was acquired in 1956 by the Arts Council and in 1984 his work was included in the Graves Art Gallery, Sheffield Touring Show 'The Forgotten 50's'. His work has been exhibited at the Royal Academy Summer Exhibition, Bankside Gallery, and local exhibitions in Wales and London. After part time teaching at various art schools throughout London he obtained a full time post at Kingston Upon Thames where he became a senior lecturer in the 70's until his retirement in 1986. He always carried a sketch book and drew views of London, the Thames, scenes in Wales and musicians at rehearsals in the Royal College of Music.
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