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Lot 523
A SELECTION OF 20TH CENTURY PAINTINGS AND PRINTS, comprising two still life watercolours with an attribution to Frances Helen Simpson 1912 verso, largest approximate size 37cm x 52cm, a Michael Barnfather signed limited edition print depicting a farm scene published 1977, a landscape with mist to the distance, oil on canvas signed R. McQueen, a large landscape oil on canvas signed R. Adams approximate size 60cm x 90cm excluding frame, smaller continental landscape signed H. Salow, an oil on board still life study of flowers in a bowl signed Fields and a signed limited edition print by Derick Brown depicting Burton Upon Trent Ferry Bridge (8)
Lot 549
SIX 20TH CENTURY OIL PAINTINGS, comprising a continental lakeside village signed Campria, oil on canvas, approximate size 49cm x 69cm, a woodland landscape oil on board signed R.B. Cleaver, a still life depicting of fruit and wine oil on board signed Fairfax, an indistinctly signed still life study of wild flowers in a vase, oil on canvas, a Greek landscape depicting the Parthenon signed Neo? and a Ray Witchard (1928-2011) 19th century style landscape with figures and a thatched cottage, oil on canvas approximate size 44cm x 60cm (6)
Lot 505
Contemporary British, mixed media on paper, A modern still life depicting pink and white flowers on a green ground, framed, mounted, and under glass, 24cm x 33cm overall, another modern still life in similar style, with indistinct signature to the lower right, & a colour print of a vase of roses
Lot 379
Oil on canvas of an arrangement of overflowing poppies in a vase. This floral still-life includes colors from white to purple on a white tabletop that reflect on the dark blue vase. Rexy Abeles (American) used rapid brushstrokes that left impasto in the background. Signed lower right: Rexy Abeles. Artist: Rexy AbelesIssued: c. 1980Dimensions: 16"W x 20"HCountry of Origin: United StatesCondition: Age related wear.
Lot 1205
Hendrik Reekers (1815–1854) Dutch A plentiful still life with varied game and hunting accoutrements, flowers and fruit on a silver platter before a Classical urn and arranged on a stone ledge Signed, oil on panel, 92cm by 80cmProvenance: The Ledger Galleries Ltd, London, September 1963 Hendrik Reekers worked as an artist in nineteenth century Haarlem. He learned under two great painters, his own father Johannes Reekers the Elder (1790-1858) and Gregorius Jacobus Johannes van Os (1782-1861), a still life and landscape painter. Reekers followed in his teacher’s example, with his oeuvre consisting of still life oil paintings and studies on paper that closely emulate the highly detailed, luscious images created by van Os and the accurately represented fruit and comprehensive studies by Reekers the Elder. He also became a teacher himself in 1837 and went on to travel frequently to Paris and Brussels before he died at 38.The painting is a showcase of the artists’ technical ability and continues the Dutch tradition of still life painting. Reekers has accurately depicted poultry game typically hunted in the Autumn season, pigeon, partridge and pheasant. Along with the game is an artful arrangement of flowers in vase, including Auriculas, Rhododendrons, Carnations, Heather, and Roses. To add to the richness of the almost life size composition, Reekers included fruits not native to the Netherlands. These luxury fruits of pineapple, lemons, pomegranate, and peaches would have been imported or specially cultivated, alluding to the global trade the Netherlands participated and the wealth it produced for the participants.This painting, like many of Reekers’ artworks and the still life genre in general, strikes a tension between highly realistic representation and artificial composition. Though the game is traditionally of the Autumn season, most flowers have their season in spring to late summer. So, although the arrangement of items may seem careless and haphazard, it was meticulously planned out, perhaps using stock drawings of some of the items either not in season or difficult to obtain.
Lot 83
A Royal Worcester Porcelain Pot Pourri Jar and Cover, by Malcolm Johnson, 2nd half 20th century, painted with a still life of fruit on a mossy bank within moulded and gilt borders, signed, shape number 1428, printed marks in black31cm high by 24cm wide approximatelyMinimal surface wear. Free from damage and restoration.
Lot 74
A Flight, Barr & Barr Worcester Porcelain Vase, probably by Samuel Smith, circa 1830, of urn form with twin entwined serpent handles, painted with a still life of shells, coral and seaweed on a green ground highlighted in gilt within beaded borders, on a circular socle and square plinth, painted mark in red and impressed crowned FBB mark20cm highSee footnote to previous lot.Right side handle badly broken at the top, also to the middle and bottom, these sections restored. Left handle restored on the top loops. Raised gilt section of the neck broken and restored. PAinted panel free from damage and repair, some slight scratches. Coloured ground with minor wear and scratches.
Lot 1063
Owen Bowen ROI, PRCamA (1873-1967) Still life of Roses in a turquoise glazed vase Signed and dated (19)28, oil on canvas, 39cm by 59.5cmIn an overall good state of preservation and presentation. Cleaned and revarnished, some likely consistent strengthening through the background which becomes more sporadic across the upper right-hand side, along the right-hand side edge and lower right-hand side. Further fairly sporadic retouches within the upper right-hand side of the vase and general strengthening to the right-hand side outline. Minimal retouches within composition elsewhere. The weave of the canvas is more apparent in some areas, more likely by application e.g. foreground. Extremely light surface dirt and discoloured varnish.
Lot 277
Seven pictures and prints comprising:1. Chichester Canal (after Turner), watercolour initialled R.R. (frame 45.5 x 64 cm)2. COLIN SCHULER - still life of flowers, oil on artist's board (gilt frame 52 x 42 cm)3. Yachts on a river, signed and dated lower right (gilt frame 41 x 51.5 cm)4. D.V. Henderson 'Cyclamen' (frame 42 x 43 cm)5. 'Still Life with Pitcher', ink and watercolour (frame 48.5 x 38 cm)6. After SUE MCDONALD - a pair of colour prints, 'Beside the Wave Gallery' (frames 45 cm square)
Lot 14
CHURCHILL, Winston (1874-1965). The World Crisis, London, 1923-31, 6 vols., large 8vo, plates, original cloth. FIRST EDITION, VOLUMES ONE AND V ANNOTATED, HIGHLIGHTED AND WITH PASSAGES UNDERLINED IN PENCIL BY ANTHONY EDEN THROUGHOUT. (6)CHURCHILL, Winston Spencer (1874-1965). The World Crisis. London: Thornton Butterworth Limited, 1923-31. 5 parts bound in 6 [as usual], large 8vo (233 x 155mm). Half titles, plates and maps, some folding and printed in colours, errata or erratum slips before "Contents" and at p.339 in vol. one, at p.52 in vol. III and at the half title of vol. IV, tables (dedication leaf in vol. III torn without loss). Original dark blue cloth, the upper covers lettered in blind, the spines lettered in gilt (some very faint white staining, the spine of vol. V with some minor wrinkling, short closed tear to head of spine of vol. VI, extremities lightly rubbed, lacking dust jackets). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplates in vols. one and V); Sir Gervase Beckett, Baronet (armorial bookplates in the other 4 vols. - Anthony Eden was one of Beckett's executors). FIRST EDITIONS, except for vol. V which is a second impression. In this set, of what is a notoriously complicated work bibliographically, the title pages read as follows: vol. one: "The World Crisis 1911-1914", dated on the verso of the title April 1923 [but with no volume asterisk on the spine]; vol. II: "The World Crisis 1915", undated, but the preface dated August 13, 1923; vol. III: "The World Crisis 1916-1918 Part I", dated on the verso of the title 1927; vol. IV: "The World Crisis 1916-1918 Part II", dated on the verso of the title 1927 [with pagination running on from the previous vol.]; vol. V: "The World Crisis. The Aftermath", dated on the verso of the title "First published ... March, 1929. Second impression March, 1929"; and vol. VI: "The World Crisis. The Eastern Front", dated on the verso of the title 1931. A HIGHLY IMPORTANT SET. VOLUMES ONE AND V ANNOTATED, HIGHLIGHTED AND WITH PASSAGES UNDERLINED IN PENCIL BY ANTHONY EDEN THROUGHOUT. For example, in volume one, on p.204 (commenting on the printed passage '... I am certain that if Sir Edward Grey had sent the kind of ultimatum suggested [i.e. that if Germany attacked France or Belgium, England would declare war upon her], the Cabinet would have broken up, and it is also my belief that up till Wednesday or Thursday at least, the House of Commons would have repudiated his action'), Eden writes: "In other words Cabinet was too 'soft'"; on p.265 (commenting on the printed passage 'At any rate, that is the sort of way in which I thought then, before the event, and think still, the French command might best have safeguarded the vital interests of France'): "This sounds [illegible words] much too vague ... I do not think Winston can [?]teach French generals this ... This friendship throughout the war was infinitely superior to ours and W. was not even a British soldier. Our staff - work was more thorough"; on p.266 (commenting on 'Plan XVII'): "This is neither true nor fair criticism"; on p.269 (commenting on the printed passage 'Someone suggested we should at any rate make sure of the Cotentin peninsula ... from which the British armies of the future might proceed to the rescue of France'): "You would have done better to do as you were told!"; on p.270 (commenting on a quote from Asquith's [?]telegram to the Commander-in-Chief Grand Fleet which stated on August 24th 1914, 'We have not entered the business [i.e. of going to war] without resolve to see it through and you may be assured that our action will be proportioned to the gravity of the need'): "Gas bag!"; on p.274 (commenting on the footnote 'In fact, however, it was the 1st Middlesex ... who captured the guns at Néry'): "Not the first time, or the last, that the Guards obtained the credit for the deeds of other and better soldiers"; on p.282 (commenting on the printed passage '... I consider now that this prudent withholding from the Army in the field in the face of every appeal and demand, the key-men who alone could make the new armies, was the greatest of the services which Lord Kitchener rendered to the nation at this time, and it was a service which no one of lesser authority than he could have performed'): "In other words we should not [underlined] have won the war without K. [i.e. Kitchener]"; in volume V, on p.23 (commenting, in blue pencil, on a passage which quotes Lloyd George, 'But after all, life is a brief span, and all that matters is not to fall below the level of events upon the greatest occasions'): "W's favourite motto"; on p.113 (commenting on the printed passage 'Mr Lloyd George said that "Great Britain would spend her last guinea to keep her navy superior to that of the United States or any other Power ..."'): "and today!"; on p.261 (commenting on refugees fleeing Crimea for Constantinople): "I saw this - indescribable. Selling stamps in the street, waiting in cafes, their uniforms were magnificent, their plight pitiable"; on p.287 (commenting on the printed passage 'A certain number of high Tories, while rigidly opposing any effective concession to Irish Nationalist demands, were still more violent in their denunciations of the Black and Tans'): "Bob C. as usual" [possibly referring to Robert Lindsay Crawford]; on p.290 a largely illegible note regarding a passage concerning Lloyd George's personal safety; on p.296 (commenting on Gladstone's views on Irish home rule): "[? illegible initials, but possibly] O.W.J. wanted a majority. He never thought of Home Rule until then - any more than [illegible name] did"; on p.307 (commenting on the printed passage 'Yet in so far as Mr Lloyd George can link his political misfortunes with this Irish story ...'): "not very far"; on p.320 Eden has boldly underlined and highlighted the following printed passage (tellingly, with hindsight): 'The general opinion was well expressed by Mr Neville Chamberlain:- "I, for one, am not going to be exasperated by outrages into changing my opinion as to the proper course to pursue. I consider in these difficult times that our business is to keep our heads, not to allow ourselves to be flustered into courses we may regret hereafter ..."'; on p.354 (commenting on the passage 'What was to happen to scandalous, crumbling, decrepit and penniless Turkey in this earthquake?'): "Hardly? It was our diplomacy and that of the French that failed. The Russians always aimed at [?]bringing Turkey into the war against us, for Constantinople was their chief war objective, as always"; on p.358 (commenting on the printed passage 'The rage and disappointment excited thereby throughout Turkey was said to have turned the scale and provoked Turkey into war against us'): "What effect had this on driving Turkey into the war against us? That it created profound feeling amongst all Turks who had [?]subscribed their [?]force, I know"; on p.359 (commenting on the printed passage 'I can recall no great sphere of policy about which the British Government was less completely informed than the Turkish'): "but the Russians knew it & bluffed us"; on p.369 (commenting on the printed passage 'I cannot understand to this day how the eminent statesmen in Paris ... could have been betrayed into so rash and fatal a step'): "Except that both Wilson & [?]L. G. [?Lloyd George] were [?]equally [?]ignorant & Clemenceau indifferent on most [?]aspects"; on p.370 (of Damat Ferid Pasha): "charming old man & probably scholar & gentleman. Very ill when I was at C"; on p.373 (commenting on the printed passage 'On the main issue of Constantinople Mr Lloyd George was whole-heartedly with lord Curzon'): "I thought dragging Curzon with him?"; on p.394 (commenting on a printed passage which transcribes a letter from Churchill to Lloyd George on Greece and Turkey): "All this would carry greater conviction [?]if [?]one [?]was not aware that Winston...
![[EVELYN, John (1620-1706)]. Acetaria. A Discourse on Sallets, London, 1699, small 8vo, large folding table (heavily spotted a](https://cdn.globalauctionplatform.com/9f62f50f-e3e9-488b-bedd-b02f00c8e0e3/f1c76946-2b04-41c8-a62a-b03000b353c7/468x382.jpg)
Lot 27
[EVELYN, John (1620-1706)]. Acetaria. A Discourse on Sallets, London, 1699, small 8vo, large folding table (heavily spotted and browned throughout, loss of a few letters), 19th-century red half calf gilt. FIRST EDITION.[EVELYN, John (1620-1706)]. Acetaria. A Discourse of Sallets. London: Printed for B. Tooke, 1699. Small 8vo (158 x 95mm). Title within double rule border without rubrication, large folding letterpress table (lacking all before title [?blanks], heavily browned and spotted throughout, repair to a8 affecting several letters, although the text still legible, blank corners of b1 and b2 torn away without loss of letters, lacking errata leaf). 19th-century red half calf, spine gilt (new endpapers). Provenance: old signature or initials scribbled-out on title; author's name written in faint pencil. FIRST EDITION of this work on ... salads! Bitting p.149; Cagle 669; Henrey 117; Hunt 401: "It is a cookery-garden book with excellent recipes for unusual dishes of all sorts flavored with the ever useful pot herbs grown so universally in the 17th century. 'The book reveals Evelyn's zest for living and the culture of his mind. It also shows the thought and life of a country gentleman of the reign of Charles the Second'"; Keynes 105; Oxford p.46; Wing E3480. RARE.
Lot 91
A Fascinating and Unique 19th Century Mahogany Floor Standing Eight-Day RegulatorRecorded by Dr Vaudrey Mercer to be the Arnold Workshop RegulatorThe hood with flat top and ogee moulded cornice over plain sides and square glazed front door lined in a quarter-moulding, the throat with narrow moulding over two trunk doors: the upper being 29.5 inches long with central lock and moulded edge, the lower 16.5inches long with a lock, to a plain apron at the base. The sides of the case plain except for a pair of 5 inch panels let into the sides set at 37.5inches from the pendulum suspension point (presumably evidence of an alternative pendulum being in use at some stage). A small handwritten paper label bearing a fractional number (365/189?) is applied to the interior left-hand side. The 22cms (8.75inch) square silvered brass dial with twin subsidiaries set one above the other; the upper marked in Arabic five-second intervals with inner Observatory marks at the fives, with single blued steel counter-balanced hand. The lower dial with identical markings and now set with a pair of blued steel hands to give hours and minutes. Signed across the centre of the dial Arnold, 84 Strand, LONDON. The weight driven movement with arched plates measuring 22cms x 13cms (8.75ins x 5.25ins) united by five knopped pillars pinned through the backplate (the movement originally had six pillars, although this last was removed in order to make way for a new great wheel), the lower two pillars threaded to accept securing bolts from the underside. Now winding through the front on to a barrel, with Harrison's maintaining power. The great-, centre- and third-wheels all of six crossings, the deadbeat 'scape wheel of four crossings, to a pair of jewelled pallets spanning eleven teeth, the high count pinions unusually made of brass. The long steel crutch with brass fork to an invar pendulum rod terminating in a pair of steel cylinders joined top and bottom and held by a long threaded screw to allow for fine adjustment. The pendulum is suspended from a substantial right angled brass frame secured to a solid mahogany block mounted on the backboard via seven screws, its lower right-angled arms drilled to accept the securing bolts which locate into the two lower movement pillars. With pendulum and small brass weight.Footnotes:Provenance: The private collection of Dr Vaudrey Mercer, and thence by descent. Dr Mercer was confident enough to record this in his exhaustive work, John Arnold & Son, Chronometer Makers 1762-1843 (published in 1972, and updated with a supplement in 1975) as 'The Workshop Regulator'. Five pages and four plates are dedicated to it in Chapter XI, which also includes the seven other known Arnold regulators at that time: John Arnold No.1; Arnold No.2; the Manheim regulator; Arnold No.101; two at Dunskirk Observatory (only one of which is complete); and the Shuckburgh regulator. He suggests that the current pendulum may have been added by Dent, or 'more likely by Frodsham when the business was taken over by them.' Having discussed different aspects of the clock, Mercer delivers the following verdict: '..I think this clock started life as a thirty hour clock with only minutes and seconds hands, and that it was used purely and simply as a regulator in the true sense of the word and almost certainly by John Arnold himself. The dial and eight day mechanism being an improvement on John Roger's part, to save the bother of daily winding, and then perhaps later still the hour hand was added, but still retaining the old dial without any hour numerals.' It is very interesting to note that while the use of two doors on the case trunk is very rare, it is not unheard of – a similar example exists in the collection of the Royal Museums Greenwich, reference number ZAA0534. Literature: Mercer, T. (1972) John Arnold & Son, Chronometer Makers 1762-1843, The Antiquarian Horological Society, p121-123, Plates 144 – 147. Staeger, H. (1997) 100 Years of Precision Timekeepers from John Arnold to Arnold & Frodhsam 1763 – 1862 Gerlingen: Karl Dieringer. p715. FOR FURTHER DETAILS, INCLUDING A TRAIN COUNT AND FAMILY REMEMBRANCES OF DR MERCER, PLEASE SEE THE APPENDIXThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 81
A very rare, dated, mid 18th century mahogany-crossbanded oak longcase clock with Dutch strike and bolt-and-shutter maintaining powerHenry Hindley, YorkThe inverted bell top with shaped cresting flanked by twin capped pedestals over a stepped multi-part cornice raised on freestanding reeded Doric columns, the long trunk door with mahogany crossbanded edge on a matching panel base and apron. The 12 inch arched brass dial with large subsidiary date dial framed by addorsed dolphin mounts over mask-and-scroll spandrels enclosing the silvered Roman and Arabic chapter ring signed either side of VI, the finely matted centre with running seconds and matted shutters for the maintaining power. The weight driven movement secured to the (replaced) seatboard by twin J-bolts locating into the lower edges of the plates which are united by four typical turned baluster pillars of particularly good colour, the going train with maintaining power engaged via a pull cord below, the striking train with rack striking system on a bell, (originally Dutch striking, now one bell hammer removed). The frontplate with engraved date 1743. The tapering steel rod pendulum with brass faced lenticular bob, and a pair of lead weights. 2.41m (7ft 11ins) high.Footnotes:Henry Hindley was born 'Henry Hindle' in 1699 to Margaret Proctor and Henry Hindle, a blacksmith, in Great Harwood, near to Blackburn. The Hindles were a well-known blacksmith family in Great Harwood, going back at least 150 years. It has been suggested that Henry served his apprenticeship in Wigan and at least two clocks signed Hindley de Wigan and dated to around 1720, are known to exist, which would support this conclusion. It is unknown who his master was; John Burgess, a Wigan clockmaker and gun smith, has been suggested, though there is no concrete proof that this was the case. Henry was the eldest of eleven, possibly twelve children. His sister, Katherine, was around a year his junior, followed by John (1704), Elizabeth (1705), Sarah (possibly another sister, though not confirmed), Mary (1708), Anne (1709), Edith (1711), another Anne (1713), the twins Margaret and Alice (1714), and the youngest of the siblings, Roger, who was born in 1716. By 1731, Hindley was in York, obtaining the Freedom of the City in March of that year. In order to gain Freedom in York, a horologist either had to be apprenticed in York, or pay for their freedom, with gifts being accepted in lieu of payment. Hindley accordingly gifted two specially made eight-day longcase clocks; one for the Mayor of York's home (Mansion House) and another for the Common Hall/Guildhall. He also agreed to maintain both clocks for a year (after which point, he would be paid for servicing them) and was subsequently granted his freedom. At some point, he married a woman named Sarah, and the couple had at least two children, Elizabeth and Joseph. The latter was born around 1728 and would likely have been apprenticed to his father.Hindley originally appears to have lived in Petersgate, before moving in 1741 to the corner of Blake Street and Stonegate. Around the time of his move to York, he seems to have apprenticed his younger brother Roger, though no formal record of this apprenticeship exists. Roger would later move to London, seemingly around the time that Henry moved to Blake Street and Stonegate. His main trade was watch-cap manufacture, and as no finished timepieces are known with his signature, it is assumed he built his career on supplying parts for the trade. He was known to have married, and the couple had at least one son, John. The last known record of this part of the Hindley family is in 1785, where Roger is noted as still an active horologist. In addition to changing residence in 1741, Henry Hindley made the acquaintance of John Smeaton, who would eventually become a London scientific instrument maker and civil engineer, as well as a life-long friend and posthumous promoter of Henry Hindley. During their first meeting, Smeaton references a wheel-cutting engine in Hindley's possession, and of Hindley's own manufacture around this time, which was equipped with an endless screw, and the ability to cut up to 360 teeth. Smeaton was so intrigued with the machine and its manufacture, that he would later deliver a lecture before the Royal Society in 1785, specifically about the machine and Hindley's process for dividing circles. The machine was acquired by a varied string of clockmakers, after Hindley's death, and alternatively run down and restored. It is unknown what eventually became of it.In addition to clocks, around 67 of which are extant (most being longcases, followed by turret clocks and then spring driven clocks) Hindley was known to have made at least two equatorial telescopes. The first was made around 1754, a contemporary opining that the mounting for the telescope was originally made to test the accuracy of Hindley's wheel cutting engine. He advertised the finished telescope for sale in the local newspaper of August that year, though it seemed to generate little interest. The telescope languished until 1761, when it was bought by a landowner, William Constable, to watch the transit of Venus. The second telescope Hindley made appears to have been made on commission for the Duke of Norfolk. Additionally, a pyrometer and rack-driven fusee engine are known to have been made by Hindley. Elizabeth died in 1762, the exact cause being unknown. Sarah followed shortly after, around the end of the same year. Henry continued his business until his death in 1771, reportedly after a 'lingering illness', though he managed to install a turret clock made for St. John's Church in Manchester before his death. One of the last jobs completed before his death, poetically, was the servicing of the clocks he had made for the Manion House and the Guildhall. He was described in his obituary as a 'Clock, Watch, and Mathematical Instrument maker.' Joseph took out a notice the following week, that he would be continuing his father's business. In 1774, shortly after completing work on the Holy Trinity Church's clock in Hull, Joseph also died, apparently in the middle of making an atmospheric steam engine for the same town's waterworks. He was described as a clock and watchmaker, with his obituary declaring him 'a most ingenious man, and esteemed one of the best Mechanics in the North of England.' Joseph had no children, nor did he ever marry, meaning that six months later, all the tools he inherited from his father were sold off, including the famed dividing engine.For further information on this lot please visit Bonhams.com
Lot 58
Dickens (Charles) Bleak House, first edition in the original 19/20 parts, 39 plates by H.K. Browne only (of 40, lacking "frontispiece" to part 19/20), with the explanation of the accident to plate 17 in part 9, front adverts all present of "The Bleak House Advertiser" (parts 3, 6, 7 and 14 lacking slips), most back adverts present (parts 2, 3, 16 and 18 lacking slips, and part 1 with Waterlow and Son's variant advert 'A', lacking "Mott" and "Camomile" advertisements, part 2 lacking "Waterlow", part 5 lacking "Edward Lloyd's", part 6 lacking pp.3-4 of "The Oak Life Insurance", part 7 lacking "London Weekly Paper", part 16 lacking pp.3-6 of "Clarke, Beeton and Co.'s"), all other slips and advertisements otherwise as called for, plates browned or offset, some occasional light soiling, original wrappers, soiling to part 1 wrapper, part 19/20 spine broken, some back wrappers detached, chipped and nicked to edges, spines worn with portions of loss, still overall a very good and unrestored copy, [Hatton & Cleaver pp.273-304], preserved in custom drop-back box, 8vo, 1852-53.
Lot 240A
§ Gordon House (1932-2004) an untitled screenprint, dedicated and signed and dated 'Gordon' 1967 (lower right), 53 x 83cm;together with an unsigned modern abstracted still life, mixed media, 52 x 80cm, and Stella Marsden, Pears, lithograph, signed and numbered 'Marsden 3/8' (lower right), 28.5 x 37.5(3)
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77111 item(s)/page