Larissa De Jesús Negrón No Time For Shame, 2022 Acrylic and Colour Pencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Larissa De Jesús Negrón is a multidisciplinary artist who yearns for introspection and finds self evaluation through her intimate and often otherworldly spaces and portraits. Her stylistically varied and neo-surreal imagery is linked to the artist's curiosity of the subconscious and Neuroticism. Larissa has a profound interest in healing and addressing her childhood and adult trauma through her work. For all of us, the expression of emotion is essential to overcoming trauma. These mundane moments of despair, fear and excitement are brought to the eyes of the viewer as a cathartic way to connect. Select Exhibitions/Awards "Tiempo al Tiempo" 2022, Solo booth at Salón Acme art fair / Regular Normal Gallery, CDMX "Illuminated Body" 2022, Spring Break art fair / Peripheral Space, LA Platform online exhibition, 2022, Unit London Gallery, UK "TWENTYFOUR" 2021, Bricks Gallery, Copenhagen "DM me" 2021, Kravets Wehby Gallery, NYC Independent Art Fair / Regular Normal Gallery, 2021, NYC You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
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Larissa De Jesús Negrón Don't Wake Me Up, 2022 Acrylic and Colour Pencil on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Larissa De Jesús Negrón is a multidisciplinary artist who yearns for introspection and finds self evaluation through her intimate and often otherworldly spaces and portraits. Her stylistically varied and neo-surreal imagery is linked to the artist's curiosity of the subconscious and Neuroticism. Larissa has a profound interest in healing and addressing her childhood and adult trauma through her work. For all of us, the expression of emotion is essential to overcoming trauma. These mundane moments of despair, fear and excitement are brought to the eyes of the viewer as a cathartic way to connect. Select Exhibitions/Awards "Tiempo al Tiempo" 2022, Solo booth at Salón Acme art fair / Regular Normal Gallery, CDMX "Illuminated Body" 2022, Spring Break art fair / Peripheral Space, LA Platform online exhibition, 2022, Unit London Gallery, UK "TWENTYFOUR" 2021, Bricks Gallery, Copenhagen "DM me" 2021, Kravets Wehby Gallery, NYC Independent Art Fair / Regular Normal Gallery, 2021, NYC You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Nilima Sheikh Where Did They Hide You ?, 2022 Mixed Tempura on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics. After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings. In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series. In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings. Sheikh lives and works in Baroda, India. Select Exhibitions/Awards Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010). Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Nilima Sheikh At The Root of Which Tree?, 2022 Mixed Tempura on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics. After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings. In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series. In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings. Sheikh lives and works in Baroda, India. Select Exhibitions/Awards Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010). Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Nilima Sheikh In Which Sky?, 2022 Mixed Tempura on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics. After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings. In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series. In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings. Sheikh lives and works in Baroda, India. Select Exhibitions/Awards Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010). Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Nilima Sheikh Under Which Earth?, 2022 Mixed Tempura with Collage and Stencil on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Borrowing from and translating the vocabulary of Indian painting traditions, Nilima Sheikh's artworks have ranged from small paintings reminiscent of Mughal and Rajput miniatures, to vertical scrolls rooted in East Asian customs. Over her 50-year career, the Baroda-based artist has woven into her work her concerns with femininity, tradition, violence, poetry and national politics. After studying painting at the Maharaja Sayajirao University of Baroda in the 1960s and 1970s, Sheikh's interests aligned with those of other emerging artists who strove to situate figuration and narrative in a contemporary context. Indicative of this concern, Sheikh's Songspace-exhibited in 1995 at Gallery Chemould, Mumbai, and at Africus, the first Johannesburg Biennale-was a set of vertical, casein on canvas scrolls. The series' delicate, translucent colours intoned painterly and lyrical rhyme in their suggestions of an imagined landscape. Comprising of six double-sided tempera-painted canvasses hung beneath a painted canopy, Shamiana was erected in 1996 for the 2nd Asia-Pacific Triennial at Queensland Art Gallery, Brisbane, and alluded to the temporary tents erected during some Indian weddings. In 2001, the exhibition Conversations with Traditions: Nilima Sheikh and Shahzia Sikander at Asia Society, New York, exhibited the artists' distinct engagements with pre-modern Indian painting. Included was Sheikh's landmark series 'When Champa Grew Up' (1984), which described the tragic life story of a woman murdered for her dowry by her husband's family. In her 2018 conversation with Ocula Magazine, the artist reflected on her process of finding 'the right language' for the topic. Arising from her lasting interest in narration and writing, Sheikh offered the lyrics from Gujarati oral folk songs as accompanying texts for the series. In The Country Without a Post Office: Reading Agha Shahid Ali-a solo exhibition at Gallery Chemould in 2003 that took its name from an anthology of Ali's writing-Sheikh presented a visualisation of poetics and politics. The artist's citing of Ali's poetry, which focused on the contemporary conflict in Kashmir, reflected on the inherent conflicts between aesthetics and trauma. As in some of Sheikh's earlier work, these paintings employed the syntax of free verse, with compositional narratives developing not from linear descriptions but from the flexibility of independent and layered readings. Sheikh lives and works in Baroda, India. Select Exhibitions/Awards Solo Exhibitions include: Lines of Flight, Asia Art Archive, Hong Kong (2018); Each night put Kashmir in your dreams, The Art Institute of Chicago (2014), Chemould Prescott Road, Mumbai, and Lalit Kala Akademi, New Delhi (2010). Group Exhibitions include: 4th Kochi-Muziris Biennale (2018); documenta 14, Athens and Kassel (2017); Landscape of Thinking slow: Contemporary Art from China & India, National Museum of Modern and Contemporary Art, Seoul (2013). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Sofía Clausse Keeping It Forever 1, 2022 Acrylic on Tissue Paper and Staples Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Born in Argentina and currently based in London, Sofía Clausse is a multi-disciplinary artist who completed her BFA at the Rhode Island School of Design, and is now doing a postgraduate at the Royal Academy Schools. She follows the labyrinthic path of her practice, in which works transform into other works, creating a knotted mesh where playing becomes thinking becomes making. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Sofía Clausse Keeping It Forever 2, 2022 Acrylic on Tissue Paper and Staples Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Born in Argentina and currently based in London, Sofía Clausse is a multi-disciplinary artist who completed her BFA at the Rhode Island School of Design, and is now doing a postgraduate at the Royal Academy Schools. She follows the labyrinthic path of her practice, in which works transform into other works, creating a knotted mesh where playing becomes thinking becomes making. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
A Regency rosewood and brass inlaid bonheur du jour attributed to John McLeanApplied with gilt metal mounts and in two parts, the rectangular top with pierced thee-quarter gallery above a shelved superstructure and mirrored back with pierced gilt brass ends and supports, the rectangular base above a frieze drawer on ring turned legs with brass capping and castors, 83cm wide, 46cm deep, 124cm high.Provenance:Property of an Oxfordshire estateSotheby's London, Fine English Furniture, 8th December 1978, lot 239The above bonheur du jour displays several decorative features that repeat in McLean’s output. A related bonheur du jour with the same leg pattern was offered at Christie’s London, 7 July 1988, lot 25 and is possibly the example also illustrated by S.Redburn in John Mclean & Son, Furniture History Society Journal, 1978, pl.40A. The same grille pattern on the superstructure of the lot offered here is seen on numerous cabinets with superstructures attributed to the firm including a labelled example illustrated by Redburn, ibid., pl.33A.Thomas Sheraton's, The Cabinet Dictionary of 1803 lists McLean & sons among the foremost English cabinet-makers of the period, and it is some indication of the esteem in which they were held that Sheraton himself made use of one of their designs for a 'pouch table', which he illustrated in the Dictionary, (pl.65), remarking that, 'The design... was taken from one executed by Mr M'Lean in Mary-le-bone street, near Tottenham court road, who finishes small articles in the neatest manner'.McLean and son was established in London around 1770, trading from premises in Little Newport Street, Leicester Square up until 1783. By 1790 the firm had moved to 55 Upper Marylebone Street, expanding to occupy premises in both Pancras Street and Upper Terrace and continuing to trade until 1825.N.B: This lot is subject to CITES regulations
An early 20th century satinwood and japanned Chinese Chippendale style armchair with a matching single chair attributed to Hille & Co, The armchair with an arched lattice back centred by a tablet with a Chinoiserie scene, the arms with lattice supports above a caned seat with velvet cushion above a fret carved frieze and legs, joined by a H-stretcher, with a side chair of matching design, the armchair, 66cm wide, 51cm deep, 98cm high. (2) Provenance: Private family collection, Berkshire The firm of Hille was founded in 1906 by Salamon Hille. Their Old Street manufactory aimed at high quality production with an emphasis on materials and craftsmanship. They produced furniture in a number of revivalist tastes supplying makers such as Hamptons, Maples and Waring and Gillows. The Chippendale revival Chinoiserie decorated furniture was introduced around 1914. Salamon's daughter Ray, who was to become a notable designer in her own right producing the firms acclaimed 'Art Deco' and 'Moderne' ranges, began her career at Hille painting the chinoiserie designs on these revivalist pieces.
NO RESERVE Newton.- Voltaire (François Marie Arouet de) Jämförelse emellan Newtons och Leibnitz's Meningar in Metaphysiken och Naturläran, translated by Johan Jacob von Bilang, occasional light spotting, unopened, contemporary light blue wrappers, [Not in Wallis], 8vo, Stockholm, C. F. Marquard, 1799.⁂ A very good unsophisticated copy of this rare translation of Voltaire's Elemens de la philosophie de Newton, under its alternative title (in English) 'The Newtonian Philosophy compared with that of Leibniz'. WorldCat lists only three copies. The translator Johan Jacob von Bilang (1740-1803) was a high ranking official in the Swedish navy who wrote on philosophy, politics, trade and monetary policies.
NO RESERVE **The description of this lot has changed**Music.- Gounod (Charles) and Giuseppe Zaffira. Biondina, signed presentation copy from the lyricist, stamped signature of composer to title, printed in red and black, some spotting, lightly browned, original brown cloth, gilt, rubbed, 4to, Milan, Ricordi, 1878.⁂ Gounod's only song cycle. It was written between 1871 and 1872 during the composer's stay in London, in collaboration with the poet Giuseppe Zaffira, who happened to be lodging at the time with Georgina Weldon, talented amateur singer, friend of the composer, orphanage founder and inspiration for the Married Women's Property Act, 1882.
NO RESERVE Physician to the Garrison at Portsmouth.- Meik (Dr Thomas, physician at Portsmouth, d. 1811) [Address to George III] (No 1.) (Copy) The humble Memorial of Thomas Meik, M.D. King's Physician to the Town and Garrison of Portsmouth, printed broadside, folds, a few very small holes without loss of text, slightly browned, [not in ESTC or Worldcat], 200 x 165mm., n.p., Portsmouth, 26th June 1774.⁂ An account by Meik of his, and other doctors treatment of Prince William, first Duke of Gloucester and Edinburgh (1743-1805), brother of George III who fell ill at Livorno in 1771. The illness was very similar to George III's madness. A plea for remuneration for having saved the prince's life.
Novel.- The Correspondents, an Original Novel; in a Series of Letters, A New Edition, ink signature of Caroline Danby on front free endpaper and bookplate of William Danby of Swinton Park, Yorkshire on front pastedown, contemporary tree calf, some surface wear on upper cover, for T. Becket, 1776 § [Hazlitt (William)] Liber Amoris; or, the New Pygmalion, first edition, engraved title, bookplate of Oliver Grant on front pastedown, original cloth-backed boards, edges uncut, printed paper label on spine, rubbed and browned, 1823; and 3 others, 8vo & sm. 4to (5).⁂ First mentioned based on the letters supposed to have passed between Lord Lyttelton and Mrs. Peach (widow of Gov. Peach of Bombay) who married his son Thomas Lyttelton. Second mentioned a thinly-veiled autobiographical account of the author's infatuation with his landlady's daughter, an unreciprocated attachment which caused him great distress.
![NO RESERVE Poetry.- [Bird (Robert)] Law Lyrics, first edition, the author's own copy, half-title, author's ownership inscript](https://cdn.globalauctionplatform.com/7d0c0d75-5429-47f4-8a8a-aebd0102a7ad/ae608683-cd4f-46d7-a14a-aebd010ed517/468x382.jpg)
NO RESERVE Poetry.- [Bird (Robert)] Law Lyrics, first edition, the author's own copy, half-title, author's ownership inscription to front free endpaper, places of original periodical publication noted by the author at the beginning of each piece, a list of those who 'expressed commendation' in pencil on front free endpaper, related press cuttings tipped-in to endpapers, original linen-backed boards, author's signature to upper cover (faded due to stain), corners worn, stained, Glasgow, Wilson & McCormick, 1885; and 2 others by the same, including a presentation copy to his daughter of Law Lyrics, 8vo (3)
Hawking (Stephen).- Israelian (Garik) and Brian May (editors), Origins of the Cosmos, signed with right thumb-print of Stephen Hawking, with authentication inscription to front endpaper "This is right thumb print of Professor Stephen Hawking witness by George Zhao", photographic and colour illustrations, original boards, dust-jacket, one very small scuff mark towards foot of upper joint, some very light creasing or bumping at spine ends and fold corners, Starmus, 2016; plus a letter of authenticity signed by Stephen Grocutt, and 5 others, photographic ephemera relating to Hawking, together all items in a smart wooden box (320 x 320 x 120mm) (7)⁂ Stephen Hawking led the Starmus festival in 2014. A unique science outreach event dedicated to the latest thinking of some of the world's greatest minds on the nature of the Universe, Hawking was keynote speaker, delivering two lectures on the origin of the universe and the origin of black holes. Stephen Grocutt was a member of Stephen Hawking's private healthcare team from 2015-2017, travelling with him around the world. Also included alongside a letter of authenticity signed by Stephen Grocutt is a photograph of Mr Grocutt together with Professor Hawking in London on the evening of his BBC Radio 4 Reith Lecture on blackholes. Qihui Zhao who signs as George Zhao worked as Professor Hawking's medical assistant for many years.
Bayer (Herbert) Walter Gropius & Ise Gropius. Bauhaus 1919-1928, second printing, inscribed "Für Rosbaud von Gropius 1954" on front free endpaper, original cloth, dust-jacket, Boston, 1952 § Moholy-Nagy (Laszlo) The New Vision from Material to Architecture, first edition, original grey cloth lettered in red, spine slightly browned, New York, [1930] § Klee (Paul) Pedagogical Sketchbook, first English edition, original cloth, yellow dust-jacket, soiled, rear panel defective, [19543], illustrations, all a little rubbed; and 11 others on the Bauhaus and related, 4to & 8vo (14)⁂ Paul Rosbaud (1896-1963), German scientist and publisher, who spied for the British during the Second World War, alerting them to the German V2 rockets and their failure to assemble an atom bomb.
Plantin.- Stapleton (Thomas) Promptuarium morale super Evangelia dominica totius anni..., Editio altera...Pars Hyemalis, part 2 only (of 2, lacking Pars Aestivalis), title with woodcut device on title, woodcut initialas, with blank ⁂4, trace of old stamp to title, browned, small ink stains to Ee6 & Nn7, a few minor marginal paper flaw defects, contemporary blind-stamped alum-tawed pigskin with clasps, rubbed and soiled, lacking clasps, [Adams S1659], Antwerp, Widow of Plantin & Johannes Moretus, 1593; and another, Plantin, 8vo (2)⁂ Second Plantin edition (first in 1591) by the English Catholic controversialist who left England in 1559 and became a Professor of theology in Douai and Leuven.
NO RESERVE Gemini Press.- Graves (Ida) Epithalamion, number 241 of 330 copies signed by the author, full-page wood-engravings by Blair Hughes-Stanton, some spotting, original boards, uncut, spine rubbed and bumped at ends, board slip-case (worn), small folio, Colchester, Gemini Press, 1934.⁂ The first, of only two, books issued by the Gemini Press, established by Ida Graves and Blair Hughes-Stanton after the latter's departure from the Gregynog Press having left his wife Gertrude Hermes. Despite being unable to marry this was a celebration of the couple's union. Only half the edition was sold and in 1970 Hughes-Stanton sold the remaining sheets to the Basilisk Press who reissued the work in 1980. This original issue is more commonly found signed by the artist rather than the author.
NO RESERVE Shakespeare Head Press.- Nutbrown Maid (The), number 7 of 55 copies on hand-made paper, printed in brown and black, bookplate of Evan Morgan, original limp vellum with ties, uncut, 1925 § Pindar. Odes of Victory The Olympian and Pythian Odes, translated by C.J.Billson, number 48 of 250 copies, wood-engraved illustrations by John Farleigh, original cloth-backed pictorial terracotta boards, uncut, paper label, a little rubbed and faded, 1928, 8vo & 4to, Oxford, printed by the Shakespeare Head Press of Stratford-upon Avon (2)⁂ Evan Morgan, 2d Viscount Tredegar (1893-1949), occultist and notorious eccentric, who was simultaneously the friend of Aleister Crowley and chamberlain to Pope Pious XI. Aldous Huxley and Ronald Firbank both based characters in their novels on him.A second volume of Pindar's Odes The Nemean and Isthmian Odes was published by the press in 1930.
A collection of Doctor Who books including 'Doctor Who The Time Traveller's Guide', 'Doctor Who- A Celebration' and 'Doctor Who- The Key To Time' all by Peter Haining, 'Doctor Who- A History Of The Universe in 100 Objects' together with approximately 30 Doctor Who magazines and various other Doctor Who books, annuals etc.
A box of mixed LP's including King Crimson 'Lark's Tongues In Aspic' (repress), The Beatles, Sunshine, The Stone Roses, Santana, Jimi Hendrix, Taj Mahal, Pink Floyd, Medicine Head, Dr Johu, Stray, Man, Beach Boys, Focus, Deep Purple, Amazing Blondel, The Who, Traffic, Frank Zappa, John Lennon, Rolling Stones, Sly & The Family Stone etc. (approx. 70)
A CHARLES II PORRINGER *with two cast caryatid scroll handles, a campana-shaped body a chased calyx of stiff leaves around the lower body and a small circular foot, engraved on one side with a coat of arms** within plumed mantling, the base with the scratchweight "10-15", maker's mark "IH" (over a fleur de lys and pellets***), London 1677; 7.45" (19cm) wide overall; 10.3 oz * Provenance: Chambers Court, nr Tewkesbury, Glocs **The arms are possibly those of Spencer of Witton, co. Salop and co. Stafford who bore the arms of Sable a chevron between three hares' heads erased argent Ref: Burke's General Armory p.953 *** See Jackson's Revised PP 130 for this mark, as seen on a cup and the Dodding Tankard 1677-78
After Charles "Snaffles" Johnson Payne (English, 1884-1967), eleven coloured lithographs with hand colouring of different soldiers who fought in the Great War, laid onto backing sheets printed with associated scenes in black and white, comprising: "A Heilan Lad"; "Le 75"; "Bon Voyage"; "Sans Panache French Cavalry 1914"; "Yi-hai! Indian Cavalry (B.E.F.)"; "The Canadian"; "Vimy"; "Anzac"; "Wipers"; "Le Poilu"; "Le Poilu"; most inscribed in pencil on reverse "EB" or "EB Cameron", 17 ¼ x 13 ¾in. (43.8 x 35cm.). (11)
The James Bond Desk' - a Bodil Kjaer rosewood 'working table' desk, the shallow, rosewood veneered top with four frieze drawers, on a chromed steel underframe with open, rectangular supports, 81 x 39in. (206 x 99cm.), 27in. (68.5cm.) high, polish defects to top. * Purchased by the current owner in an employees' sealed bid auction during office refurbishment at the old Republic Bank of New York in Guernsey, which was owned by the Saffra Brothers. The refurbishment was carried out when the firm was bought out by HSBC and rebranded HSBC Private Bank, c.2005. ** Known coloquially as 'The most beautiful desk in the world', this striking modernist design is famed for featuring in the three 1960s James Bond films 'From Russia with Love', 'You Only Live Twice' and 'On Her Majesty's Secret Service' and, more recently, the Kingsman films. Designed originally in 1959 for the Massachusetts Institute of Technology, it was also a favourite with royalty and celebrities, including Prince Philip, who purchased one for Sandringham, and stars such as Michael Caine and Oscar Peterson.
A fine George II silver coffee pot, Aymé Videau, London, 1736, of tapering cylindrical form upon a reeded moulded base, the curved panelled spout opposite a s scroll wooden handle, the stepped hinged cover surmounted by a spool finial, engraved with the arms of Bluett quarting Nutcombe with Nutcombe in pretence, for Buckland Nutcombe Bluett, who died in 1786, 8in. (20.3cm.) high, weight 25.3 tr.oz. * Light surface scratches, hinge with little movement, nothing else to note, good.
John Helier Lander (Jersey, 1868-1944), Portrait of a Sandwich Board Man advertising a service being held on Friday 29th September 1893 at St Paul's Church, St Helier, Jersey to commemorate the second anniversary of the opening of the new church oil on board, signed and dated 1893 lower left, modern frame 9 ½ x 5 ¾in. (24.2 x 14.5cm.) * Provenance: Langlois Auctioneers, St Helier, Jersey, 1992 ** Notes: St Paul's Church in New Street, St Helier, Jersey was built in 1891 on the site of another church of the same name. On Tuesday 29th September 1891 the Dean of Jersey, the Rev. George Orange Balleine (1842-1906) preached the sermon at the opening service. The advertising board shown in the painting announces that the Dean will be returning to preach at the anniversary service. The architect of the new church was Adolphus Cookson Curry (1848-1910). The Sandwich Board man depicted by Lander was reputed to be a local character who was paid a modest sum by the church to advertise its services.
English School, 19th century, The coaster ‘Rescue of Guernsey J. Quesnel, Master’ oil on canvas, signed with initials WH lower left and inscribed lower centre 19½ x 23¾in. (49.5 x 60.3cm.) * Notes: The Rescue - According to Lloyds Register of Shipping 1869, the Rescue was built in Guernsey in 1861 by Ogier and was 112.8ft long, 24.9ft wide and with a depth of 12ft. J. Quesnel was her Master, and she was owned by Dorey & Co. John Quesnel was born in Jersey in 1827 before moving to Guernsey in 1852, working as Master of the Rescue from 1862 to 1867. Josiah Dorey, St Sampson’s Weighbridge Master and shipowner ran Dorey & Co. He died in 1887 and it it his son, Onesimus Dorey, who found greater success with Onesimus Dorey Shipowners Limited, whose business sign is now displayed in Castle Cornet, together with other artefacts from the business. On Onesimus’s death, the business passed to his son Cecil and then to his son Peter, who bought two-thirds share for the business in Condor.
A lock of hair believed to be that of the Duke of Wellington (1769-1852), the hair contained in a small paper envelope, inscribed in pencil, 'The late Duke of Wellington Hair given me by his old Gate Porter who served with the Duke at Waterloo', behind a gilt mounted glass in a silk lined ebonised mahogany box, the box 7 ¼ x 6in. (18.5 x 15.25cm.). * The old envelope is dirty and folded, with small tears to both sides of the flap. The box lacks the cath from the lid so cannot be locked (may have been forced at some time). Interior silk is dirty and has a small hole and stains to lid lining. Some small scratches and edge wear to exterior.
The Who - Who Did It! LP vinyl music record, matrix 2856001, Track Records label.Footnote: The 13-track stereo compilation LP that was withdrawn soon after issue. The sleeve has omse lamination creasing on the corners. Condition report:This is a well worn record. Side one has light lines over the surfaces. Side two has 3/4 deeper scratches to some tracks, please see the added photos online.
Rock and Pop LP vinyl music records, fifty including The Who - Who Are You; Deep Purple; UFO; Gary Brooker; Ian HUnter; Rory Gallagher; Nazareth; String Driven Thing; Family; Meat Loaf; Street Walker; Whitesnake; Skull Wars; Sid Vicious; Powerhouse; Marillion; Fleetwood Mac; Procol Harum; Sweet; Steve Winwood; Bad Company and others.
A GROUP OF ROYAL ALBERT BEATRIX POTTER FIGURES, FIRST DAY COVERS, ETC, to include the following figures: Benjamin Bunny, The Old Woman who Lived in a Shoe, Appley Dapply, Hunca Munca Sweeping, Mother Ladybird, Jemima Puddleduck with Foxy Whiskered Gentleman, Mrs Tittlemouse, Mrs Rabbit (ear chipped), Tom Thumb, Old Mr Brown, Little Black Rabbit, Sally Henny Penny, Squirrel Nutkin, Mrs Rabbit and Bunnies, Mr Drake Puddle-Duck and Little Pig Robinson, together with two 1993 Peter Rabbit centenary first day covers, boxed Wedgwood Peter Rabbit birthday plate, and a boxed Wedgwood/The National Trust limited edition Beatrix Potter plate (Condition report: as stated otherwise appear in good condition) (Qty)
A QUANTITY OF BOXED AND UNBOXED BESWICK BEATRIX POTTER FIGURES, thirty five pieces, comprising two boxed small Peter and the Red Pocket Handkerchief figures (BP-9d), four boxed centenary figures, two each of Peter Rabbit (BP-7) and Jemima Puddleduck (BP-9a), a boxed Chippy Hackee (BP-3c), characters without boxes: Mr Alderman Ptolemy (BP-3a), Miss Moppet (BP-2a, ears damaged), BP-3b figures: Old Mr Pricklepin, Johnny Town-Mouse (pen mark to forehead), Chippy Hackee, Ribby, Cousin Ribby, Tailor of Gloucester, Thomasina Tittlemouse, and Cottontail, BP-3c figures: Old Mr Bouncer, Tom Kitten & Butterfly (chip to butterfly), The Old Woman Who Lived in a Shoe, Timmy Willie, Susan, Jeremy Fisher, Benjamin Bunny Sat on a Bank, and Chippy Hackee, BP-4 figures: Jemima Puddleduck, Mrs Tiggy Winkle, Hunca Munca, Peter Rabbit (ear repaired), Rebeccah Puddleduck, Mr Jeremy Fisher Digging, and Flopsy, Mopsy and Cottontail, together with three character jugs: Tom Kitten, Old Mr Brown and Mr Jeremy Fisher (Condition report: as stated otherwise appear in good condition) (35)
Vintage Chinese Silk Evening Coat Ying Tai Ltd of Hong Kong. Vintage Ying Tai Ltd of Hong Kong Silk Coat Colour Red and Black Fully Lined in Black Silk c.1950's The back of the coat has double inverted pleat UK Size 14/16 or a small 18 Length 100cm - 39 inches Sleeve shoulder to cuff - 19 inches - 3 quarter length sleeves so wrist jewellery will be seen. This is truly a rare and stunning coat from one of the famous Shanghainese Tailors who came to Hong Kong in the 1940's and 1950's. It is in excellent condition after and looks as though it has hardly been worn.
DEUTSCHLAND, Kaiser Wilhelm I.-König von Preußen, 800 Silber, um 1882. Glaskaraffe mit Silbermontur, gefußte Kanne aus farblosem Glas mit Schliffdekor, 800er Silbermontur, Deckelöffnung durch Anziehen einer Leiste innerhalb des Henkels, Wandung mir Monogramm "WR" mit Königskrone, Marken: "800 M SACHWALL", auf dem Deckel Angaben zu der Person, die die Karaffe erhalten hat, H: 34 cm. Normale Altersspuren.|GERMANY, Kaiser Wilhelm I-King of Prussia, 800 silver, c. 1882.Glass carafe with silver mount, footed jug of colourless glass with cut decoration, 800 silver mount, lid opening by tightening a bar inside the handle, wall with monogram "WR" with royal crown, marks: "800 M SACHWALL", on the lid details of the person who received the carafe, h: 34 cm. Normal signs of age.
A collection of ephemera associated with Captain James Walker, who served during WWI (including the first day of the Somme), he then joined the RFC, with over 35 postcards, as well as some photographs, a WWII map of Harrogate, correspondence from relations, photocopy form one page of his Pilot's Log Book. (1 bag)
1983 Bamby, 49cc, Project. Registration number A833 NKH. Chassis number 0030. Engine number was 2T41800719. Bamby Cars was a British-built marque of microcars produced in small numbers in Hull, England, in the early 1980s. Bambys were designed and built by Alan Evans, who manufactured a one-off replica of the Peel P50 which also served as a prototype for further production. The Bamby featured a fibreglass body with left side gull-wing door with three-wheels and a single wheel in the rear. Initial models were equipped with hand-started Minarelli 49 cc engines, cable brakes and single headlamps. Improvements introduced included replacing the original engines with the type fitted by Yamaha to their Passola moped, using the main frame components as a subframe for attaching to the body of the car. Brakes were converted to hydraulic discs, but the single headlamp was retained until a further face-lift, from which time two headlights were fitted. At this time the gull-wing entry was deleted and a front-hinged door installed instead. Also introduced was a Suzuki engine, attached via a full chassis, in place of the previously used subframe. Like the Peel P50, there was no reverse gear. The new model was exhibited at the Ideal Home Exhibition of 1984, meeting with overall public approval, but few were made and the final Bamby left the factory within a few months A833 was first registered in November 1983 by Bamby Cars and is one of the first built with gull wing door and cyclops headlight and appears in early promotional advertising. It was bought by our vendors aunt, a local nurse but she did not get on with it. Our vendor bought it in 2002 to add to his collection. Stripped of its running gear at some point it still retains its steering column and front suspension. Sold with the V5, period photograph of it on the assembly line, recovery photographs and a various copy literature including a copy of The Bamby Story by Bob Cotton whose son used one for several years.
1984 Bamby, 49cc, Project. Registration number B648 URH. Chassis number 0056. Engine number was 387678. Bamby Cars was a British-built marque of microcars produced in small numbers in Hull, England, in the early 1980s. Bambys were designed and built by Alan Evans, who manufactured a one-off replica of the Peel P50 which also served as a prototype for further production. The Bamby featured a fibreglass body with left side gull-wing door with three-wheels and a single wheel in the rear. Initial models were equipped with hand-started Minarelli 49 cc engines, cable brakes and single headlamps. Improvements introduced included replacing the original engines with the type fitted by Yamaha to their Passola moped, using the main frame components as a subframe for attaching to the body of the car. Brakes were converted to hydraulic discs, but the single headlamp was retained until a further face-lift, from which time two headlights were fitted. At this time the gull-wing entry was deleted and a front-hinged door installed instead. Also introduced was a Suzuki engine, attached via a full chassis, in place of the previously used subframe. Like the Peel P50, there was no reverse gear. The new model was exhibited at the Ideal Home Exhibition of 1984, meeting with overall public approval, but few were made and the final Bamby left the factory within a few months B648 was first registered in October 1984 by John Le Fondre of Manor Park, London and is one of the later examples that had a steering wheel, conventional hinged door, two headlights. Our vendor bought it in 2002 to add to his collection. Stripped of its running gear at some point it still retains its steering column. Sold with the V5, and a copy of The Bamby Story by Bob Cotton whose son used one for several years.
1983 Bamby, 49cc, Project. Registration number KAT 186Y. Chassis number 14. Engine number was 14. Bamby Cars was a British-built marque of microcars produced in small numbers in Hull, England, in the early 1980s. Bambys were designed and built by Alan Evans, who manufactured a one-off replica of the Peel P50 which also served as a prototype for further production. The Bamby featured a fibreglass body with left side gull-wing door with three-wheels and a single wheel in the rear. Initial models were equipped with hand-started Minarelli 49 cc engines, cable brakes and single headlamps. Improvements introduced included replacing the original engines with the type fitted by Yamaha to their Passola moped, using the main frame components as a subframe for attaching to the body of the car. Brakes were converted to hydraulic discs, but the single headlamp was retained until a further face-lift, from which time two headlights were fitted. At this time the gull-wing entry was deleted and a front-hinged door installed instead. Also introduced was a Suzuki engine, attached via a full chassis, in place of the previously used subframe. Like the Peel P50, there was no reverse gear. The new model was exhibited at the Ideal Home Exhibition of 1984, meeting with overall public approval, but few were made and the final Bamby left the factory within a few months KAT was first registered in May 1983 according to the V5 and owned by Bamby Cars, they sold it it to Allen Forster of Durham in 1991 or 1992. A photograph on file (of A833 NKH) states it was the last Bamby produced and reiused the registration from an earlier car. It is one of the later examples that had a steering wheel, conventional hinged door, two headlights. Our vendor bought it in 2002 to add to his collection. Stripped of its running gear it is sold with the V5, and a copy of The Bamby Story by Bob Cotton whose son used one for several years.
1983 VW T25 minibus, petrol 1913cc/LPG conversion, automatic. Registration number FSW 353Y. VIN number WV2ZZZ 25ZDH091742. Engine number unknown. The Volkswagen T25 (T3) was the third generation of Volkswagen Transporter and was marketed under various nameplates worldwide; these included the Transporter or Caravelle in Europe, Microbus in South Africa, and Vanagon in North and South America. It was larger, heavier, and more angular in its styling than its predecessor, the T2. It was manufactured in Germany from 1979 until 1991 it initially featured air-cooled engines before moving onto water-cooled engines. Examples built between 1979 and 1985 featured round headlights and basic steel or chrome-plated steel bumpers with plastic end-caps. With its internal combustion engine and transaxle mounted very low in the back, the T3 had much larger disc brakes at the front, with drums at the rear. Axle weight was very nearly equal upon both the front and rears ends of the vehicle. The original manual transmission was a four-speed unit but from 1983 a 5-speed transmission was available as an option on certain models. This minibus version has history back to Jeffery Wheelwright of Morpeth who was the second owner. In 1997 our vendor bought it. In the Instruction Manual there is a note of the engine being replaced at 152,4288 miles in 2000. MOT history with DVLA is available from 2006 at 164,961 miles, rising every year until the last in 2011 at 171,511 miles. It was then parked in a dry barn and left. He has recently moved to a new home and the T25 has been brought out, the battery charged and it was driven onto the collection trailer. Subsequently it has been driven on our private road and the engine will not go over 20 MPH, the automatic gearbox works and so do the brakes, both sliding doors also work. Now in need of a restoration this will make a great project and is well worth saving. Spicers would not recommend using the LPG tank. Sold with the V5C, V5, instruction manual, repair manual, copy of the MOT history and several keys.
1961 Bianchi Tonale, 175cc. Registration number 357 ATR (non transferrable). Frame number 235204. Engine number 235204.Founded in 1897, Bianchi is one of the oldest Italian manufacturers. Known for its achievements in racing competitions, they also marketed road models including the 175 Tonale. Its 4-stroke single-cylinder develops 8 hp at 6, 000 rpm. Bianchi stopped producing motorcycles at the end of the 1960s.This very well restored model appears to have been a UK bike from new with 3 previous owners according to the V5C, a David Lightowler buying it in 2015 and our vendor in 2016. He bought it as a display machine so he has not ridden it and his life has now taken a different direction. There is no history before this time or who performed the quality restoration.Sold with the V5C,and a period Use and Maintenance Manual, it will require recommissioning before road use.
1995 Triumph Daytona 885, 885cc. Registration number M903 ACC. Frame number SMTTC357DMS018531. Engine number 018739. The 900 Daytona was born out of the Daytona 750 with more aggressive styling and better performance, and an engine that was bulletproof. This was one of several models that shared the same basic engine components in order to keep costs at a minimum and quality at a maximum. It never really challenged the top sports bikes of the day, and its weight and height meant that it could be tricky to handle when riding slowly, but the higher centre of gravity meant you could use its weight to corner. What was then a sports bike is now a great little sports tourer. Solid, dependable with the power where it matters when it matters and there are still few bikes that can embarrass it away from the lights or down the tighter lanes. Yes it will flop into bends and keeping a line on the curves may be a little more challenging than on more 'neutral' machines but this is a bike for those who want to ride not glide, it rewards a partner rather than a passenger. ACC was bought by Ian Fisher of Winsford from Woods Motor Cycles of Abergele and has 11 stamps in the service book up to 31,903 miles in 2018. In 2012 it moved to Mark Hutchinson of Selby when the mileage was 30,898 and the service receipts from that date detail comprehensive attention to detail. The last one in 2020 the mileage had only risen to 31,972. The MOT history backs this limited use up, the last one was in September 2021 at 32,005 miles, today the odometer shows 32,089 miles. Ridden to the saleroom, this Daytona presents very well and is only being sold due to lack of use by our vendor who bought it in March 2022 and he is concerned for his license as it is too easy to exceed the speed limit! Sold with the V5C, MOT history, service book, manual, service receipts, original tool kit and Datatag that can registered in the new owners name
Reynolds, Sir Joshua (PRA FRS FRSA, 1723 - 1792) The Rev and Mrs Lloyd in Turquerie (1757) A pendant pair of portraits Oil on canvas Property of a lady Dimensions: (Canvas) 30 in (H) x 25 in (W) Literature: D. Mannings, Sir Joshua Reynolds: A complete catalogue of his paintings, New Haven and London, 2000; no. 1138 & 1139; Figs 272 & 273. A Ribeiro, The dress worn at masquerades in England, 1730 to 1790, and its relation to fancy dress in portraiture, London, 229; cf. ch. IV, pl. 23. G&C volume II, 589. Provenance: Rev William Lloyd: Aston Hall sale, 1923 Christie?s, 29 June 1928 (Lot 157), bt Rothschild Anonymous sale, 17 April, 1931 (Lot 97), ?From the coll. of General Lloyd?, bt Parker Sir Austin Harris and thence by descent Mrs William Lloyd (née Snyed): D H Sneyd sale, Puttick & Simpson?s 1913 (bought Huggins, 720 guineas) Sold 16th April 1929 by the Dowager Victoria Sackville to Sir Austin Harris for 1000 guineas Thence by descent Lot Essay: Turquerie was the Orientalist fashion in Western Europe from the 16th to 19th centuries for emulating aspects of Turkish art and culture. This phenomenon became more popular through trading routes with the West and increased diplomatic relationships between the Ottomans and European nations. The ?Oriental? Turkish costume was quickly adopted by elegant European sitters as a reference to their worldliness and internationalism. British historian and anecdotalist Joseph Spence, for instance, spoke with great admiration of John Montagu, fourth Earl of Sandwich, who extended his grand tour in the late 1730s to the Ottoman Empire: ?A man that has been all over Greece, at Constantinople, Troy, the pyramids of Egypt, and the deserts of Arabia, talks and looks with a greater air than we little people can do that have only crawled about France and Italy?. As such, the 18th century marked the apex of ?turquerie?, with Sir Joshua Reynolds too engaging in painting a few of his sitters in the sought after turquerie dress (see Reynolds? portrait of Mrs Baldwin, 1782). The present pendant portraits depict the Rev William Lloyd and Mrs Elizabeth Lloyd (née Snyed) of Aston Hall, Oswestry and are probably one of, if not the, marital portrait of the couple as they were painted the same year of their marriage. The Reverend and Mrs Lloyd married in February and there is documentation of appointments with 'Mr Loyd' in 1757 on Mar. 24 (2 0'clock), 28 (midday); 30 (either at eleven or at three, cf. Mrs Lloyd) and Apr. 2 (at 10). There is a cancelled appointment with either Mr or Mrs Lloyd on Apr. 1 (at 2). Both the Reverend Lloyd and Mrs Elizabeth Lloyd can be seen dressed in detailed, luxurious Turkish dress. Aileen Ribeiro defines this as "an oriental masquerade dress, with the Rev Lloyd's turban pinned on top with a jewel and his fur-lined, short-sleeved garment - jacket or long gown ? delicately and finely painted with the decoration of embroidery and tassels" (Masquerades 1984, 221). Mrs Lloyd can be seen in a heavily embroidered and tasselled gown. Her hand on her hip draws striking attention to the detail of a small Ottoman-style dagger slipped into her metal-worked belt. The paintings have been in the family of the vendor since the 1930s, with letters existing from the Dowager Sackville (April 16, 1929) regarding the sale to Sir Austin Harris (family of the vendor) regarding the purchase of Elizabeth Lloyd. The pair of portraits were separated and then reunited by Sir Austin. The Reverend Lloyd was sold by Rothschild, 1931 and purchased by Parker - then to Sir Austin Harris.
Maillol, Aristide (1861 - 1944) Baigneuse debout, first version 'Statue femme debout le bras derrière le dos', 1898 / 1901 Bronze, height: 66.5 cm, 26.1 in Monogram 'AM' [cast by Florentin Godard between 1909 and 1938 without foundry mark] Property of a Gentleman Provenance: Sotheby's London, c. 1976 [5000 guineas] Lot Essay: We thank Dr. Ursel Berger for confirmation of the attribution (M 7/2016). "Maillol's first figurative sculptures were carved from wood - see for example the Standing Bather in the Stedelijk Museum in Amsterdam, originally in the collection of Prince Antoine Bibesco. It was the dealer Ambroise Vollard who first suggested to Maillol that bronze casts could be made from his woodcarvings. Maillol subsequently produced two versions in plaster from the wood carving of the Standing Bather: this present model is almost identical to the wood carving (the second the sculptor reworked, removing the drapery over the right arm and remodeling the right hand in a more outstretched position). On September 10th, 1902, Maillol sold a group of sculptures to Ambroise Vollard, including these two models, listed as follows: Statue femme debout le bras derriere le dos. (the present cast) Autre statue femme debout le bras derriere le dos aussi According to their 1902 agreement Vollard bought all the rights of reproduction of these sculptures - 'en toute propriété et avec le droit d'édition' and therefore, the casts that Vollard produced of the 'Baigneuse debout, first version', are from the only legal edition. In signing this contract with Vollard, Maillol relinquished his rights to reproduce these works himself. The contract of 1902 gave no limit to the number of bronzes which could be cast - this was usual for this period. The number of casts Vollard edited is unknown and whilst some of the small models such as 'Baigneuse sé coiffant' were rather popular, examples of the present work are rare. In 1907 Ambroise Vollard began using the Florentin Godard foundry to cast these Maillol models and from 1909 to 1939 he used them exclusively, as the papers in the Vollard estate prove. Florentin Godard was a sand cast foundry, they rarely marked their casts with their name and never numbered them. This 'Baigneuse debout' is a good and typical bronze of the Vollard edition, cast by Florentin Godard, and carefully chiseled and patinated."
Two brass door plates, stamped 'The Queen' A.S.' and 'His Majesty Edward VII Buckingham Palace', together with a copper example detailed 'His Royal Highness The Prince of Wales No. 6.', and a pair of stamps detailed 'Queen' and 'Victoria', with paper envelope inscribed 'Messrs Higgs & Hill Ltd., General Contractors, Marlborough House, St. James's, London, S.W.1.'Provenance by vendor repute: Sourced from Marlborough House during refitting by the current vendors father who worked for Higgs & Hill as contract manager between 1965 and 1966.
The History of England, being a Compendium adapted to the Capacities and Memories of Youth at School. And Likewise Useful for all Others who have weak Memories, and would willingly retain what they read of the English History...performed, before a large Assembly of Gentry and Clergy, by the Gentlemen of the Publick Grammar School at Holt in Norfolk, At their Christmas Breaking-up in 1735, London, Parker, et al, 1737, 82 pp, rubricated title page, bound together with a Latin "Historiae Anglicanae Breviarium", 8vo, calf; together with Dr Goldsmith's "History of Greece", 1825; Tooke, "The Pantheon, representing the Fabulous Histories of the Heather Gods and Most Illustrious Heroes in a plain and familiar method", 1824
Pre-1969 autograph signatures of the five members of the Rolling Stones, on individual uniform leaves of paper, in a variety of inks, 13.5 cm x 17.5 cm, together with "The Rolling Stones Book", published by Beat Publications, circa 1964. [These autographs were collected by the vendor's father who "went to see the Rolling Stones at the Palace Theatre in Manchester around about 1965. He enjoyed the show and managed somehow to see the Rolling Stones after the show and expressed how much of a good time he had. By return he received all the autographs from the group members at the time."]
A Royal Humane Society bronze medal to George Steele, April 26, 1899, 38 mm. [RHS case 29964, gallant rescue at Hove. Steele, a Hove Bath-chairman, saved the life of a boy carried out to sea. "Steele, with his bath-chair, was going towards the sea-front with a lady, when the latter discovered what they thought to be a Newfoundland dog a long way out to sea. Coming near, said the mayor, they saw that it was a boy - apparently drowning. Steele turned towards the lady and said, "Shall I go Miss?". "Can you do it" was the reply and after Steele said he could, she said "Then go!". Pulling off his coat and cutting his boot laces, in order to save time, Steele jumped into the water, swam out to the lad, and brought him ashore [swimming with him in his teeth]. On nearing the shore he was met by one of the policemen, PC Putman, who assisted to bring the boy to land, and proceeded to try and restore him, as he was apparently dead, while Steele went home much exhausted. After half-an-hour, the boy was restored to consciousness."]
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