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Lot 288
* ENID FOOTE WATTS (SCOTTISH 1924 - 2003), STILL LIFE Iacrylic on canvas board54cm x 64cmMounted, framed and under glassNote: Certificate of authenticity from the Florentina Gallery is included with this lot. The artist passed away before being able to authenticate the work with her signature.
Lot 444
Alfred Parkman (19th century), study of the interior of Brecon cathedral, watercolour, signed and dated 1894 to lower right, 25 x 20cm, together with three other watercolours, including a still life study of flowers in a vase beside a fan, cathedral ruins and a river landscape 'On The Yare'. Condition Report: No foxing.Not faded - colours good.No visible signs of damage to watercolour, mount, glass or frame.
Lot 138A
Collection of paintings and prints including Moorland Landscape, watercolour signed by Bertram Morrish, Scafell - Cumbria, early watercolour unsigned, 'Littondale' Yorkshire Dales, oil on board by K Tunna, Still Life of Fruit, watercolour indistinctly signed and two others max 45.5cm x 35.5cm (7)
Lot 652
A Royal Worcester hand painted cabinet plate, centrally decorated with a still life depicting pears and grapes within a gilt gadrooned border, signed 'Freeman', 27cm diameter CONDITION REPORT: Scratched 'X' mark to underside between foot rim and makers stamp, may indicate a second, however the strike is not through the makers stamp. No obvious chips, cracks or restoration.
Lot 693
Bates (H.E.). The Hessian Prisoner, original typescript, circa 1929, 31 A4 sheets, typed on rectos, comprising title, three sheets of Edward Garnett's introduction, 25 sheets of text and two sheets of the typist's address at end, each sheet with the author's manuscript extensive corrections, the title inscribed "Dear Garnett, This is the original copy, but please return it. I'm so glad you like Alexander. Excuse the haste, but the novel drives me, - on, indeed, on! You will hurry if you can, won't you?", with a later inscription by Bates on the same sheet "Probably David is still catching up - on this, a cold December day in the year of our Lord & Lydia, 1952 - with Christmas greetings a la Caprice, H.E. Bates, Dec. 16/52" (presumably referencing David Garnett, Edward's son, horizontally folded with some spotting, small chips and tears, with a label stating the book belonged to Charles Pick (1917-2000), publisher, together with Mrs. Esmond's Life, 1931, proof sheets, comprising 14 sheets in total, some printed leaves and manuscript notes and a letter discussing layouts, printing details and costs, fonts, paper and binding, and three suggestions for titles, including 'Charlotte Esmond', horizontal fold, some light spotting, a few paperclip marks, plus six others including signed pamphlets Song For December, Christmas 1928, and Christmas 1930, The Last Bread, 1926, inscribed to John Williams (lower wrapper detached) and Holly and Sallow, Blue Moon Poem for Christmas 1931 (signed limited edition 53/100) (8)
Lot 511
*Bliss (Joyce, 1914-1990). An archive of original artwork and associated material, approximately 150 drawings and sketches, comprising female nude studies, costume and theatre designs, book illustrations, designs for dustjackets, title-pages and endpapers, advertisements, decorative borders and initials, calendar designs, still life studies, genre scenes, animal studies, portraits, children at play, illuminated verse, etc., including two red chalk female nude studies, approximately forty watercolours, and the remainder pen & ink or pencil, a number unfinished, some signed or initialled 'EJB', some dated, together with a bound volume of Nursery Rhymes by the same artist, 12ff., each with musical notation within pen, ink, and watercolour border, plus some printed material (e.g. Christmas cards) and photographs related, various condition, approximately 41 x 31cm (16 x 12ins) and smaller, together with a small archive of original art by Phyllis Mary Antrobus (born 1905), comprising twelve watercolours (six portraits, and one of children playing on a beach, one of moths and butterflies, and four of a fox terrier 'Foch'), some signed/dated, six pencil drawings of cats and dogs, and a pencil sketch of three young girls, sheet size 40 x 28.5cm (15.75 x 11.25ins) and smaller, plus two pen & ink drawings and one pencil drawing of female theatrical dancers, initialled 'DHYH', one dated 1926 and another dated 1929 An interesting archive of material by artist Eleanor Joyce Bliss, who studied at the Birmingham School of Art between 1930 and 1939. She married silversmith Cyril James Shiner in 1943. (a folder)
Lot 334
Manner of Edwin Henry Boddington, a river landscape with fishermen, oil on canvas, bears a signature and dated 1869, 50 x 59 cm, M Gilson, Spring At Arlington Court, oil on board, signed, dated 1968 verso, 35 x 39 cm, a still life by the same, and W H Cayford, a country house drive with geese, oil on board, signed and dated 1911, paint cracking, 36 x 51 cm
Lot 639
A Royal Humane Society Medal, in silver, awarded to M Roberts, 1842, lacks bar suspension See inside front cover colour illustration.On the 1st of November 1842, two seafaring men, James Dyer and Benjamin Paul, were upset by sudden squall in a boat laden with sea-weed of Penzance Battery. The sea was heavy and neither of the men could swim. Dyer held on by the stem of the boat, and assisted by George Bell, who swam to his aid and kept himself above water until a small punt reached them. Benjamin Paul soon sunk. Michael Roberts stripped and swam to the place where Paul had disappeared. On looking into the water, which was thirty feet deep, he saw something white at the bottom, and pushing aside the sea-weed which was floating about, he dived, and found that the white object was the face of the sunken man, who was quite still and perfectly insensible. Roberts instantly grasps him by the hair, and attempts to raise him, but, his feet being entangled amongst the rocks, he was at first unable to do so. However, by getting his leg beneath the body, he forcefully extricated it, leaving part of the dress behind, and then rose with it to the surface, and, holding him with one hand, he swam to the other boat. The body was then taken into the punt already spoken of, and Roberts swam to the shore. Paul was instantly attended by J T Millett Esq. , surgeon, and upon the application of the usual remedies, life was restored.
Lot 130
Stewart (J.I.M.). A Staircase in Surrey: The Gaudy; Young Pattullo; A Memorial Service; The Madonna of the Astrolabe; Full Term, 5 volumes, 1st editions (except fourth title 2nd impression), Gollancz, 1974-78, small hole to half-title of second book with loss of three letters to verso, first volume inscribed by the author for Richard Adams to half-title, the other four books signed by the author to full-title with his own printed name struck through, bookplate of Richard Adams to all front pastedowns, original cloth in dust jackets, closed tear to lower panel of first book, a little wear at foot of dust jacket spine to second book and some fading to spines of last two books, together with Byatt (A.S.), Still Life, 2nd impression, 1985, author's presentation inscription to Adams inscribed to title, 'Richard, with very best wishes and considerable gratitude. Vive la Nature Morte! Antonia, April 27th 1989', original cloth in dust jacket, plus Lively (Penelope), City of the Mind, 1st edition, 1991, signed by author to title, original cloth in dust jacket, all 8vo, plus other mostly modern British hardback fiction in dust jackets, authors including P.D. James, Ursula Le Guin, John Braine, Barbara Vine, Anita Brookner, Kingsley Amis, etc. (130)
Lot 28
Clare (John). The Shepherd's Calendar; with Village Stories, and Other Poems, 1st edition, published for John Taylor, 1827, half-title present, advertisement leaf at rear, endpapers partially toned and with hinges splitting, bookplate of Richard Adams, and book ticket bearing initials 'AHA', front free endpaper with ink inscription dated 1831, and later manuscript note below dated 1869, untrimmed, original boards with printed paper spine label (latter toned), spine extremities rubbed, 8vo in 12s, housed in a cloth folder, in a brown quarter morocco slipcase, raised bands, gilt lettered in second and fourth compartments and at foot Tinker 638. A wonderful association copy in the publisher's original binding. Inscribed by Eliza Emmerson (1782-1854), John Clare's friend, patron and editor, to distinguished scholar and author Derwent Coleridge (1800-1883), the third child of Samuel Taylor Coleridge: 'To The Revd. Derwent Coleridge. with the perfect esteem & regard of the Author's Lady friend Eliza L. Emmerson. January 17th 1831'. The manuscript note below reads 'Bequeathed to Tom Lallison Decr. 1869'. Eliza Emmerson was a key figure in the life of John Clare, and she was also a patron of Derwent Coleridge, amongst others. She corresponded and socialised with both writers, and circulated their works, thereby contributing to the proliferation of new literary ideas. The British Library holds approximately 1200 letters received by John Clare, 300 of them from Eliza; the two of them corresponded over a period of seventeen years (although the whereabouts of Clare's letters to Eliza is sadly unknown, if indeed they are still extant). She was an important mediator between John Clare and his patron Lord Radstock, frequently having to navigate her way through the latter's demands on the poet to avoid radicalism and uphold social mores (or what Clare referred to as "false delicasy" [sic]), and often giving a woman's perspective on Clare's verse. She was also heavily involved in the various disputes between Clare's publisher, John Taylor, and Radstock, whose association was characterised by a mutual dislike for one another. Eliza's relationship with the poet was not just on a professional level; it became a personal friendship, so much so that Clare and his wife named their daughter after her, and appointed her the child's godmother. Eliza probably began corresponding with Derwent Coleridge after hearing he that he was ill, having previously already moved in the same circles as the Coleridge family. She is known to have given Derwent Coleridge at least one other volume of Clare's poetry, when he visited her at her home in Oxford Street in June 1823. Eliza boasted to Clare about her relationship with Derwent, and this led to some jealousy on Clare's part. However, under Eliza's influence, Derwent did help to introduce Clare's work to a new generation of readers. Eliza wrote poetry herself, some of it on the subject of John Clare: 'Lines on receiving the Bust of the Northamptonshire Poet, executed by Henry Behne, Esq.' (Morning Post, 14th April 1829), and 'Lines to the Northamptonshire Poet' (Morning Post, 5th May 1830). In later years, when John Clare's mental health declined, Eliza Emmerson became increasingly reclusive. Whilst her poet friend lived out his final years in an asylum in Northampton, she shut herself away, receiving few visitors, and immersing herself in writing poetry and studying Dante. (1)
Lot 86
De La Mare (Walter). The Three Mulla-Mulgars, 1st edition, 1910, two colour plates, some spotting at front and rear, bookplate of Richard Adams, orignal pictorial cloth gilt, extremities lightly rubbed, spine darkened and gilt dulled, 8vo, together with three additional 1st editions of The Three Mulla-Mulgars, one with Richard Adams's bookplate, plus Memoirs of a Midget, 1st edition, 1921, untrimmed and unopened, original quarter cloth with leather label to spine, corners showing, head of spine and covers toned, original glassine wrapper (torn with some loss), 8vo, (limited signed edition, 207/210 copies), with The Connoisseur and Other Stories, 1st edition, 1926, untrimmed, original quarter cloth with leather label to spine, some soiling, spine toned, 8vo, (limited signed edition, 208/250 copies), and The Fleeting and Other Poems, 1st edition, 1933, untrimmed, original quarter cloth with leather label to spine, spine toned, 8vo, (limited signed edition, 118/150 copies), and other Walter de la Mare and related including: The Wind Blows Over, 1st edition, 1936, with dustjacket; and Stories from the Bible, illustrated by Edward Ardizzone, 1961, with dustjacket Whilst still at school, Richard Adams found a copy of 'The Three Mulla-Mulgars' and was entranced by it. Indeed, he describes it as "a milestone of profound importance" which opened his eyes and became "one of the most important influences" on his whole life. This tale, seeming to him to be the only real story compared to all others, which were merely attempts at stories, showed Adams that a great novel must create a world that is more real than reality: a world to which "the devoted reader can return again and again for delight and comfort". It was chiefly from this book that Richard Adams took the idea of a journey as the basis for his landmark novel, and he also describes the parallels between De La Mare's characters and scenarios and some of his own in 'Watership Down'. 'The Three Mulla-Mulgars' also taught Adams a vital life-lesson; namely that other people, even those closest to you, will not always understand or agree with your own tastes. When Adams became a devoted admirer of this book, some of his family, far from empathizing or understanding his passion, instead scoffed and jeered. Admitting that perhaps he was a bore in his obsession with the story, Adams also observes that one should never mock the love a child has for a book, in his words: "you never know what it may mean to him". He writes of his favourite children's book "A tear springs to my eye as I think of what I owe to it", saying "Years later, I was able to meet Walter de la Mare and thank him - thank God." (Richard Adams, The Day Gone By, An Autobiography, 1990, pages 155-56. Richard Adams, The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, Kestrel Books, 1977, pages 168-69). (28)
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