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Lot 903
THREE THIMBLES comprising a continental stone set silver thimble, size 4, with a green moss agate coloured crown, punch decorated sides stamped '800' and a beaded rim, approximately 3.8g.; a stone set silver thimble, by Charles Horner, size 8, with a Cornelian stone crown, punch decorated sides and geometrically patterned broad band, the hallmarks indistinct, approximately 3g; and a continental stone set silver thimble, with an amethyst coloured crown, and punch decorated sides, approximately 2.9g.
Lot 242
A PLATINUM, BLACK OPAL AND DIAMOND RING, the oval cut opal set within a scalloped mount of brilliant cut diamond highlights between solid tapering shoulders. Stamped PLAT. Ring size M. Weight 3.8gms.The opal measures approximately L12.79mm x W6.47mm x D3.67mm. Good surface condition with no visible surface scratches or chips. (Natural surface abrasions to the underside of the stone)The opal is a base of blue/black with excellent blue, green, purple and red fire. A good show with good colour depth.Total weight of the diamonds approximately 0.48 carats. Estimated colour H/I. Estimated clarity SI. All are well matched, bright and lively.The mount is in very good condition. All stones are well set and secure. Overall in good condition.
Lot 69A
A LADYS CARTIER TANK FRANÇAISE BRACELET WATCH. Square ivory dial with applied roman index and black hands. Rectangular steel case measuring 20 x 25mm with yellow metal crown set with blue cabochon stone. Bi-metal bracelet approx. 9cm length with deployment clasp. Original Cartier box and guarantee certificate dated 2004.
Lot 75
A LADY'S 18CT GOLD ASPREY WATCH. Oval white dial with roman index and black hands, dial signed Asprey and features arabic script at 6 o'clock position, case measures 22 x 25mm, blue cabochon stone set in crown, manually wound movement signed Baume & Mercier BM775, case internally stamped with Birmingham importation mark for 1972-73 and signed Baume & Mercier.
Lot 82
A LADY'S BI-METAL RAYMOND WEIL PARSIFAL BRACELET WATCH. Circular Mother of Pearl dial with gilt roman indices and date aperture at 3 o'clock position, yellow metal crown set with blue cabochon stone, hinged link bi-metal bracelet with central deployment clasp, quartz movement, model number 9440-STG000908, complete with box & papers dated 2010.
Lot 138
? FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) CATHEDRAL ROCK, IONA - THE Signed, signed and inscribed verso, oil on board (Dimensions: 36cm x 43cm (14in x 17in))(36cm x 43cm (14in x 17in))Footnote: Provenance: Alex Reid & Lefèvre Ltd, London Note: F.C.B. Cadell had a long-standing love affair with the west-coast isle of Iona and spent many a long Scottish summer painting there alongside fellow Scottish Colourist S.J. Peploe. Together they traversed and transmuted vision into paint across every spot and angle of this artist’s haven. A unique west coast wildness prevails, with a sense of open space and gorgeous, sparkling light, truly an artist’s paradise. Cadell captured the topography and landmarks, the light and the colours as accurately as possible, with surprisingly little artistic licence. He was so accurate that individual rocks can still be matched to photographs of present day Iona. His amazing accuracy allows us to identify this unusual scene of an approaching storm, taking place over Cathedral Rock, Iona at the north end of the island. In a departure from his usual depictions of the coastline of the island under glorious sunshine, the drama of the approaching weather matches the drama and ruggedness of the rocky coastline and the strength and intensity of crashing Atlantic waves. Still fresh and joyful, the storm brings an unexpected brooding quality to the painting. In Crofts, Iona the gorgeous, west coast light returns and in its depiction, Cadell is unfettered and free in his painting. Light, bright and breezy, this is an altogether different approach that shows a light touch in the brushstrokes. Softly slanting and layering over each other, his technique is particularly noticeable in the differing colour and softly cross-hatched texture of the dry stone wall in the foreground. These differing scenes of Iona show Cadell for the true Scottish artist that he was, able to see, respond to and celebrate the true beauty of this small island, no matter which view he focused on, or what weather conditions he experienced.Condition report: Good original condition
Lot 139
? Francis Campbell Boileau Cadell R.S.A., R.S.W (Scottish 1883-1937) Crofts, Iona Signed, oil on board (Dimensions: 35.5cm x 43cm (14in x 17in))(35.5cm x 43cm (14in x 17in))There is an inscription verso to W G Service - Cadell's major supporterFootnote: Note: F.C.B. Cadell had a long-standing love affair with the west-coast isle of Iona and spent many a long Scottish summer painting there alongside fellow Scottish Colourist S.J. Peploe. Together they traversed and transmuted vision into paint across every spot and angle of this artist’s haven. A unique west coast wildness prevails, with a sense of open space and gorgeous, sparkling light, truly an artist’s paradise. Cadell captured the topography and landmarks, the light and the colours as accurately as possible, with surprisingly little artistic licence. He was so accurate that individual rocks can still be matched to photographs of present day Iona. His amazing accuracy allows us to identify this unusual scene of an approaching storm, taking place over Cathedral Rock, Iona at the north end of the island. In a departure from his usual depictions of the coastline of the island under glorious sunshine, the drama of the approaching weather matches the drama and ruggedness of the rocky coastline and the strength and intensity of crashing Atlantic waves. Still fresh and joyful, the storm brings an unexpected brooding quality to the painting. In Crofts, Iona the gorgeous, west coast light returns and in its depiction, Cadell is unfettered and free in his painting. Light, bright and breezy, this is an altogether different approach that shows a light touch in the brushstrokes. Softly slanting and layering over each other, his technique is particularly noticeable in the differing colour and softly cross-hatched texture of the dry stone wall in the foreground. These differing scenes of Iona show Cadell for the true Scottish artist that he was, able to see, respond to and celebrate the true beauty of this small island, no matter which view he focused on, or what weather conditions he experienced.
Lot 21
ALEXANDER CARSE (SCOTTISH C.1770-1843) THE TRAVELLING CLOTHIER Signed with initials and dated 1818, oil on canvas (Dimensions: 59cm x 76cm (23.25in x 30in))(59cm x 76cm (23.25in x 30in))Condition report: Old re-lining - some restoration to bottom edge with some paint lifting and speck of paint loss - also to sky right of right hand trees - some areas rubbed - ground below right hand donkey - figures in stone shelter - wall above bench to left
Lot 68
William Page Atkinson Wells (Scottish 1872-1923) The Stone Barn, Colby, Isle of Man Signed, oil on canvas (Dimensions: 64cm x 76cm (25in x 30in))(64cm x 76cm (25in x 30in))Footnote: Provenance: Ewan Mundy Fine Art Ltd, Glasgow, 1996Condition report: Un-lined - some re-touching to craquelure in sky most noticeably in top right hand corner - foreground, barn and trees in original untouched condition
Lot 173
FAULKNER, WILLIAM. 1897-1962.The Marble Faun. Boston: The Four Seas Company, 1924. 8vo. Publisher's mottled green paper covered boards, pictorial printed paper title label to upper cover, printed title label to spine, original glassine wrapper, without printed dust-jacket, custom green morocco backed cloth clamshell box. Front hinge started, but tight, clean.FIRST EDITION, REVIEW COPY, OF FAULKNER'S FIRST BOOK, WITH ORIGINAL GLASSINE with The Four Seas Company review slip laid in, with code '8-23-3M.' Phil Stone, who financed the small printing of the book, wrote a preface, and was its primary champion, was also assiduous in 'requesting the dispatch of review copies of The Marble Faun and in checking to see that they had arrived' (Blotner, Faulkner, p 128). There seems to have been no shortage of them sent, albeit with Stone's hectoring. However, in his extensive census in 1974, William Boozer does not mention a single copy, and we locate no review copies at auction, or in the major Faulkner collections. Given the spotty nature of the books distribution, and the undamaged survival of this copies glassine, it seems likely that this review copy was sent without the jacket. See Boozer, William Faulkner's First Book: The Marble Faun, Fifty Years Later, 1974. Petersen A1.1.
Lot 690
BONNELL, James (1697-1774). A manuscript journal of travels in Europe between 1718 and 1720 comprising 'The Grand Tour' and detailing visits to Dover, Calais, St. Omer, Boulogne, Paris, Lyon, Turin, Genoa, Parma, Bologna, Florence, Milan, and other towns and cities, and further trips to Holland and Belgium, large 8vo (245 x 150mm). c.85 leaves, with 13 written on both sides, the text preceded by 6 leaves of notes including the front endpaper, c. 9 blank leaves, followed by c.43 leaves detailing expenses of the trip, c. 37 of which written on both sides (possibly lacking some leaves, some fraying to lower fore-corner of first few leaves with slight loss). Bound in contemporary limp vellum wallet with tie, stitched (many leaves loose, binding partially detached). A DETAILED ACCOUNT, PREVIOUSLY UNPUBLISHED, OF A YOUNG MAN'S 'GRAND TOUR', INTERMINGLING CULTURAL SIGHTS WITH DESCRIPTIONS OF CURIOSITIES, SOCIAL OBSERVATION AND PRACTICALITIES ALONG THE WAY. "[In St. Omer] Din'd at 2, and then proceeded to the Great church, called St Omer, where I observ'd a new organ plac'd over the Entrance at ye West Door of ye church, very magnificent ... At the Entrance of Montreville are four draw Bridges, & a large Handsome city being pav'd throughout ... on the way I mett thousands of women on Horseback a straddle, and some cows wch are in France but small, very small horns, bags, and teats ... Came to Paris Wednesday ye 3rd Septr O.S. 1718 - Lodge at Hotelle de Flamb'd - went on Friday to Invalids, an Hospital, saw the Hall to dine - beds for ye sick - beds for those in health - the chapel very fine ... went to ye opera ... very indifferent singing, good dancing, bad musick ... The dress of the French women is a head of hair much powder, a great pleated tail, no hoopes, a deal of furbelows, and altogether considered ugly ... Chambery is but an indifferent built city but walled all around, mostly paper windows, except in ye very best houses. Here I heard children of 4 years all sing tunes exactly right ... Turin is remarked for a thick air ... [it] is a City compleatly uniform, tho' small, most streets are contiguous, so that you have a prospect from one end of ye city to tother ... No Hackny Coaches, but Sedans & Boats rowed by women ... [In Genoa] Neuf Street the finest in ye world - Pritty broad & pav'd by ye Palace flat - mostly stone - Palaces uncarved, painted on outside - Mostly 4 story but as high as 7 ... [Parma] is counted Ye Capital city of ye Dutchy of Parma, there are some good pritty Churches wth good pictures, in them many fine Equipages, wch partake more of ye French fassion - ye nearer Rome, ye Duke has a sort of Menagerie where are Lions, Bears, a Tyger, wolf, eagles, a Porcupine, and a strange Beast in ye nature of a Baboon, viz Man Tyger ... Entd Florence Saturday 9 Oct 1718 - The Streets pav'd wth large ... stones all flat but large Separations ... The Cathedrall outside, all inlaid Marble, of various colours, excepting ye fronts, being painted plasture - the dome only brick - ye inside not very fine ... At Milan they've excellent Fish from ye Lakes - I found here no Gnats - they have a favourite Bird somewt less than a Quail ..." Provenance: "The Manuscript Journal of James Bonnell Esq. of Upton House Essex & Pall Mall, London, during a three years Foreign Tour, at that period supposed to be of the age of 21. - With two original letters [not included in the lot] written by him to his Sister Miss Sarah Bonnell while many besides, much more interesting written to the same Lady - were unfortunately (to the great regret of the surviving family) given away by his late Son James Beal Bonnell to Mr Cambridge of Twickenham Meadows, Middlesex" (later note, loosely-inserted). Please see the footnote to the previous lot for biographical information relating to James Bonnell.
Lot 710
DICKINSON, William Robert (1815-87, illustrator). Views of St. Peter's Church, Brackley, with Drawings of the Fonts, &c. ... to be Sold for the Purpose of Partly Defraying the Expensive Repairs of the Church [title printed on upper wrapper]. Brackley & London: Joseph Barrett & J. Dickinson, 1841. Oblong 4to (278 x 378mm). 5 lithographed plates, 2 of which tinted, by C. Hullmandel after W. R. Dickinson, without a title page [?as issued] (short tear to one plate without loss, some mainly marginal spotting and staining). Original printed wrappers with double rule border and price of 12s. (rebacked in linen, some fraying). RARE. No copy in the British Library; one copy recorded on COPAC (at the V&A) and none recorded at auction. With 9 other works of related interest in 11 vols., namely Henry Shaw's Specimens of Ancient Furniture (London, [n.d., but plates dated 1832-34, plates, cloth), Pugin's Ornaments of the XV & XVII Century [general title on spine] (London, 1836, 4 works or parts in one vol., half morocco), M. Habershon's The Ancient Half-Timbered Houses of England (London, 1836, lithographed and engraved plates, cloth, worn), Thomas Moule's Winkles's Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wales (London, 1838-42, 3 vols., plates, cloth, worn), Henry Shaw's Details of Elizabethan Architecture (London, 1839, plates, 3 hand-coloured, boards), the same author's The Decorative Arts Ecclesiastical and Civil of the Middle Ages (London, 1851, roan-backed boards, worn), J. B. Waring's Stone Monuments, Tumuli and Ornaments of Remote Ages (London, 1870, plates, cloth), Frederic W. Maynard's Descriptive Notice of the Drawings and Publications of The Arundel Society, from 1869 to 1873 inclusive (London, 1873, mounted photographs, half morocco) and C. Almain's Monographie de la Chapelle de Berlaumont (Brussels, 1878, folio, plates, some coloured, morocco-backed boards). The lot sold not subject to return. (12)
Lot 717
GREGYNOG PRESS - Jean de JOINVILLE (c. 1224-1317). The History of Saint Louis, translated from the French by Natalis de Wailly and edited by Joan Evans. Newtown, Montgomeryshire: The Gregynog Press, 1937. 4to (342 x 235mm). Half title, text hand-set in 16-point Poliphilus type, headings and initials engraved by R. John Beedham after Alfred J. Fairbank and printed in red and blue, 17 hand-coloured armorial shields "identified by A. Van de Put" (from the colophon) and engraved by Reynolds Stone, 2 wood-engraved maps by Berthold Wolpe of France and the Eastern Mediterranean, genealogies printed in red and black. FINELY BOUND in dark maroon crushed morocco by the Gregynog Bindery, the upper cover with a shield of fleur-de-lys stamped in gilt, the spine with raised bands and lettered in gilt, top edges gilt, others uncut. Provenance: Lloyd Kenyon (small bookplate and discreet signature dated December 15th 1937 on front free endpaper). NUMBER 97 OF 200 COPIES. Harrop 37: "The book is one of the most impressive to come from Gregynog, and due credit must be given to James Wardrop for this sumptuous production to which several well known artists contributed."
Lot 759
ROWLING, J. K. (b. 1965). A COMPLETE SET OF THE HARRY POTTER NOVELS IN "DE-LUXE" EDITIONS, FIRST PRINTINGS, comprising Harry Potter and the Philosopher's Stone (London, 1999), Harry Potter and the Chamber of Secrets (London, 1999), Harry Potter and the Prisoner of Azkaban (London, 1999), Harry Potter and the Goblet of Fire (London, 2000), Harry Potter and the Order of the Pheonix (London, 2003), Harry Potter and the Half-Blood Prince (London, 2005) and Harry Potter and the Deathly Hallows (London, 2007), all in original vari-coloured cloth gilt, gilt edges, contained in the publisher's red cloth box with red silk ribbons. Apart from the first title, all of the books are in their original publisher's shrink-wrappers, and their condition is, therefore, "as new." Errington A1(d), A2(e), A7(c), A9(b), A12(c), A13(b), A14(aaa). (7)
Lot 780
THOMAS, Alan Gradon (1911-92). Great Books and Book Collectors. London: Weidenfeld and Nicolson, 1975. 4to (311 x 240mm). Half title, additional woodcut decorative title by Reynolds Stone SIGNED in pencil by the artist and numbered "no. 86", title printed in red and black, coloured and monochrome illustrations. FINELY BOUND in full crushed niger morocco by Weatherby Woolnough Limited, gilt edges, marbled endpapers, marbled slipcase. NUMBER 86 OF 100 COPIES SPECIALLY BOUND AND SIGNED BY THE AUTHOR.
Lot 232
Joseph Cribb (1892-1967) 'Willelmus De Wykeham', founder of New College, Oxford, 1926 carved stone signed and dated 41cm high.In 1906 Cribb was apprenticed to Eric Gill at his Hammersmith studio. Cribb was a skilled letter cutter and carver in his own right, gaining Gill's absolute trust and confidence and working with him on many of his major commissions, such as the lettering on Oscar Wilde's tomb. He also converted to Roman Catholicism with Gill in 1913, following him again into the Third Order of St Dominic in 1920. Cribb's apprenticeship ended in 1913 and he worked with Gill on the Stations of the Cross in Westminster until he was called away for army service from 1916 - 1919. During the latter part of his service he joined the Directorate of Graves Registration and Enquiries and worked with MacDonald Gill on the design of the standard war grave.
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