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A Request from Mr. Joyce Joyce (James) Autograph Letter Signed to 'Dear Mr [Thomas] Pugh,' 3 pp (folded sheet), on paper of Grand Hotel Britannique, Spa, Belgique [where Joyce is on holiday], dated 6.8.1934, asking Pugh to visit him when next in Paris, and making several requests. 'My American publisher would like to have for a circular he publishes some photographs of scenes mentioned in Ulysses so I wondered if you would consent to have some of yours reproduced... the Martello Tower (Sandycove), Holles Street Hospital and the view on the strand at Sandymount.. Of course he would use your name and I take it these things are paid for.' He also asks if Pugh knows of any illustrated weekly published in Dublin around 1904, for the use of the French painter Henri Matisse, who is working on designs for a new edition-de-luxe of Ulysses. 'He knows the French translation very well, but has never been in Ireland. I suppose he will do only the human figures but even for that he would perhaps need some guidance.' 'With many thanks in advance / Sincerely yours / James Joyce.' It seems Matisse never looked at the Dublin illustrations, which Pugh duly supplied; his illustrations are drawn entirely from Greek myth. Fold marks, one beginning to tear, a few minor marks, no loss. With the associated envelope-front, postmarked (stamp removed), showing it went to several addresses before reaching Pugh. Original letters of substance from Joyce are now of the greatest rarity. As a m/ss., w.a.f. (1) Provenance: From the Collection of Joyce's friend - Thomas Pugh.

Frank Fay and the Irish Theatre 1901-03 Fay (Frank, Prionsias Ó Fathaigh, 1870-1933).  An important file of original unpublished letters to the Gaelic League activist Donal O’Connor, evidently a close friend. There are seventeen TLS, 1901-03, all but four dated, mainly discussing Fay’s current activities and plans in the Irish theatre, at a time when he (with his brother W.G. Fay and their collaborators) was laying the foundations for what became the Irish National Theatre Society and the Abbey Theatre.  O’Connor’s replies are not present. Fay and O’Connor probably met through the Gaelic League, in which both were active around the turn of the century. The Fay brothers had been active in the Dublin theatre since 1891. Frank had a fine speaking voice, well suited to literary readings; Willie was a specialist in production techniques. The following extracts give a flavour of the correspondence. 20.9.01:  ‘The Cumann na nGaedheal Concert Party has been visiting quite a number of towns in the west; and you will see from the U[nited] I[rishman] this week that the only place in which they received anything like a rebuff was in an Irish-speaking district.  Do you know that down in the bottom of my heart I am beginning to have fears for the Revival ..  You may have read in the last issue of Weekly Independent a little play in verse “The Children of Lir”.  The author is a lad not twenty and I think he will do fine work yet. He is full of enthusiasm .. I hear the Leader’s influence is on the wane.  I am glad and sorry because the U.I. will not reach the number of people who read the Leader.  But the latter is becoming insupportable ..’ 24.2.02:  ‘A few weeks ago I gave a night of readings from Irish Poets and Prose Writers at the Celtic [Literary Society] and I am glad to say that I was able to hold the attention of a very small audience for at least an hour;  so all my years of work have not been in vain  ..  You may have noticed that we backed by Inghinidhe [na hÉireann] are going in for a big thing at Easter in the shape of [A.E.’s] Deirdre and a little play by Yeats, “Kathleen ni Houlihan”  ..  Isn’t the U.I. great .. Griffith seems to have a wonderful faculty of attracting all the literary folk to him ..  I believe it has penetrated into Trinity College and I believe that all that is educated and advanced in Dublin reads it .. You should read Prof. Mahaffy’s evidence re the Catholic University. He gives the Bishops some nasty knocks which they badly need.  They have too much power as it is and are strangling Ireland; heaven help us if we get a C.U.’ 9.4.02:  ‘We have scored a real success with “Deirdre”  and “Kathleen ni Houlihan”. Each of the three nights we had to turn money away.  We had all the elite of literary Dublin, George Moore, Edward Martyn, Standish O’Grady, Rolleston, T.P. Gill, John Eglinton, T.D. Sullivan and in our audience were West Britons and anti-Irish Irishmen and Englishmen .. Yeats’ play was an assured success at the start; but the wonder of wonders was the success of Deirdre.  It astonished us all.  It is written in a prose which as AE pointed out to me, he could easily change to verse, it is so rhythmical.  Moore and Yeats had each shaken their heads at the play, but they had to give in, in the end.  On the first night Yeats, from nervousness, could not stay in the hall during Deirdre (he and AE have been life-long friends and he was genuinely anxious about the reception of the piece); but on the second night he sat it out, and at the close came behind in a state of wild enthusiasm and took back all that he had said against the play.  Yeats seemed to be struck by the acting which, in its method, approached a theory of his own.  Our object was to bring out the rhythm of each sentence to make the alliteration and assonance, in which AE’s poetry and prose abounds, give some of its effect to the audience and this, added to the fact that we played behind a thin gauze, and had no footlights, made for a remoteness of effect .. the gauze gave a wonderful softness to everything .. It also astonished me how readily an audience, mainly composed of Dubliners, took to this delicately poetic play and augurs well for what we hope to do for the future.  I do not think however that the Gaelic League have given us much support and they ought to have helped, seeing that we are paving the way for Irish plays in Irish, for which, say what they will, the time will not be ripe until we have an audience who can follow every word and so help along the absolute novices by which they must be played .. I have two poets in the Company, one of them will yet do big things in literature, and the other perhaps will be heard of too;  they are both aspiring dramatists and I think we shall probably get a play or two of theirs done.  If we succeed as we have begun, I have a hope that Dublin will see a surprisingly large number of plays dealing with Ireland in the course of time.  In this way I think you will admit that the time we have spent acting farces and reciting has not been wasted ..’  22.7.02:  ‘You have seen doubtless that Edward Martyn is about to give £10,000 to found a Palestrina choir.  Well perhaps it’s better he should encourage great art, Italian though it be, than give the money to swell the swag at the Vatican;  but we would be grateful to him for a loan of £800 to get a hall for ourselves and the cause.  Or even if we never got a hall, that amount would start and secure an evening paper for two years  -  an evening paper such as we all want to see that would put an end to humbug and, like the French papers, devote itself almost entirely to this country, as they do to France ..’ 11.3.02:  ‘We have taken a little hall in Camden Street and have formed ourselves into The Irish National Dramatic Society with Yeats (I hope) as President and A.E. as Vice President.  The hall is not very large but I think we can do what we want to do in it .. At present we have the following plays in rehearsal, “Deirdre” (A.E.); “Kathleen ni Houlihan” (Yeats); “The Beggarman” (farce, Yeats); “The Hour Glass” (a Morality, Yeats); “The Sleep of the King” (Cousins);  “The Racing Lug” (Ditto); “The Laying of the Foundations” (Fred Ryan).  There is also “Cuchulain” by Miss Gore Booth and a comedy by Joe Ryan of the Celtic .. I have also heard part of what promises to be a very nice little play by a member of our Co., Mr. Columb, a dramatization of his story “In the Valley” which appeared in the U.I. the week before last.  With these we hope to do some play or plays in Irish.  Not a bad programme, is it?  One advantage of having a hall of our own is that we can play what we like in it and that we can play night after night for as long as we can get an audience .. No matter how much rehearsal we have, it is playing before the public and trying to make your work convincing to them that makes the actor .. One thing, we give no shoddy.  Yeats and A.E. are men of genius and the other authors are all sincere and have something to say ..’  -- and so on, for a further dozen or so letters. Eventually the Fays were side-lined by the combination of Miss Horniman, Lady Gregory and Yeats, but their artistic legacy left an enduring mark on the Abbey and its style of performance. A fine collection, entirely unpublished, telling the story of the Fays and their part in the rebirth of Irish theatre as it happened, month by month, without benefit of hindsight. It is of particular importance since the story has never been fully told from the Fays’ own point of view (W.G. Fay’s book Merely Players deals mainly with stage management and other technical matters). The letters should certainly be published.

‘The Old Forces of Mediocrity, Malice and Death’ Kavanagh (Patrick)  A remarkable manuscript statement, eight lines in green ink, Signed, responding to the failure of his celebrated libel action over a profile published in ‘The Leader’, 1 pp on verso of a torn sheet (no loss) of A-6 headed paper from Four Courts Hotel, Dublin, dated on recto in another hand Feb. 12th 1954 – the day after the verdict was declared. ‘I was not personally shocked by the verdict. I was ashamed of the society in which I live. I was sorry that the vital and gay new Ireland I represented had been repudiated by the old forces of mediocrity, malice and death. I have kept my integrity. It is not I who have lost. This is not the final judgement. Patrick Kavanagh’.   Fluently written, with no corrections or hesitations, possibly intended as a statement to the press; evidently given to his friend Elinor O’Brien. Kavanagh sued the Leader magazine over a profile, which he contended was defamatory.  The defendant’s barrister was John A. Costello, later Taoiseach, who subjected Kavanagh to a devastating (though not unfair) cross-examination. The turning point came when Kavanagh denied knowing Brendan Behan, and Costello produced a book warmly inscribed by Kavanagh to Behan. The jury found against Kavanagh. The verdict was appealed, a support fund was set up, and it appears Kavanagh did eventually secure a small settlement. A unique document, and a fine statement of defiance, although the jury’s verdict meant the collapse of Kavanagh’s hopes of receiving significant damages.

For Elinor, One of only 20 sets signed by Kavanagh Kavanagh (Patrick) Kavanagh’s Weekly. Vol. 1 no. 1 (Saturday April 12, 1952) to No. 13 (July 5, 1952), the complete set including the rare final issue, bound together in quarto blue cloth (lacking spine cloth but holding firmly). Printed for the publisher, Peter Kavanagh, 62 Pembroke Road, Dublin. Pages browned as usual, fragile at edges, a few small marginal tears, but an excellent set.  On back page of final issue, it states ‘This edition is limited to 500 copies [amended in m/ss to ‘100’] of which 200 [amended to ‘20’] autographed copies are available’, stamped No. 32 and signed ‘Patrick Kavanagh / 9 July 1952 / For Elinor’ [O’Brien]. In the second-last issue it was stated ‘The next issue of this paper will be the final one .. If, however, we receive in the meantime a sum of £1,000 or upwards we will .. continue to publish ..’  No such sum was received, and the final issue is headed ‘The story of an Editor who was Corrupted by Love’. Odd numbers turn up from time to time, usually in poorish condition, but the complete set with the final issue (sold only as part of a complete set) is now extremely rare.  Elinor O’Brien Wiltshire was a descendant of the Cahirmoyle family of William Smith O’Brien.  She is described in Quinn’s Kavanagh biography as one of the most faithful and dedicated of Kavanagh’s female friends in later years (though she was never romantically involved with him), see p. 313.  She was for a time a neighbour in Pembroke Road.

Hyde (Dr. Douglas).  A collection of three ALS, as follows: -       ALS on paper of Union Society, Oxford, dated Márta 5 ’05, to ‘A chara’, ‘I shall be delighted to help the Cumann na Leabharlann in any way I can .. Mise do chara, An Craoibhín.’ -       ALS on his Frenchpark notepaper, Lughnasa 1, ’05, ‘A chara dhílis, Beidh  an-áthas orainn  go léir an teachtaireacht sin fheiscint ó Chumann na Leabharlann, & go mór mór má’s féidir leis an sean-ghaisgidheach an t-Ingramach bheith i láthair ..’ (the old warrior John Kells Ingram, author of ‘Who Fears to Speak’?). -       ALS on plain paper, in Irish, agreeing to submit a letter as requested, probably a testimonial. As a collection (3).

With Childhood Drawings by Jack Butler Yeats Yeats (Jack B.) ‘A Broth of a Boy’ [Michael Joseph Barry]. The ‘‘Kishoge Papers’’, Tales of Devilry and Drollery. Dublin, Gill 1877. First edition. Sm 8vo pictorial boards, much used, inscribed in ink by Fredr. Pollexfen and Jack Yeats, and with characteristic sketches and drawings on a number of pages by the youthful Jack Yeats. In a recent folding cloth case. Fredr. H. Pollexfen, who signs twice on f.f.e.p., was evidently the original owner of this book. Directly under his signature is ‘J.B.Y.’, and opposite, on the glued endpaper, Jack Yeats has signed his full name twice in a childish hand. There are also eight or ten lines of ballad poetry in a pencilled hand, possibly Fred Pollexfen’s. The book itself is a collection of droll stories told in ballad verse. On the half-title is a pencilled drawing, ‘The Irish Bat’; on contents page a drawing of a reclining figure, possibly a tramp; at head of preface, ink signature ‘J. Yeats’; at head of page [1] ‘F.H. Pollexfen’; on p. 31 drawings of a mounted knight and a huntsman; top of p. 35 an ink drawing of a ship; top p. [63] ink drawing of shoe, foot and calf (only). At rear, the blank after p. 202 has drawings of a huntsman, a woman’s head, stars and a pitchfork; on rear e.p.’s caricatured drawings of two men, and a striking ink drawing of a couple dancing or skating – all evidently by the young Jack Yeats, aged perhaps eight or ten, who also signs his name on back of rear e.p. Frederick Henry Pollexfen was the ninth of the 12 Pollexfen children of Sligo, born 1852, eleven years after his sister Susan, who married John Butler Yeats. Her son Jack Yeats, born in 1871, spent most of his childhood in Sligo with his Pollexfen relations. Evidently, he acquired this book from his uncle Fred. There is nothing to suggest that Fred Pollexfen was an artist, and there is no doubt that the sketches in this book are by a youthful Jack Yeats. From his early childhood he drew compulsively, on any paper that came to hand, and even his earliest drawings – as here – often have an element of exaggeration or caricature which is very distinctive. In this he differs from his father, who drew exactly what he saw. One wonders if the Pollexfen household contained copies of Punch. A remarkable survival. Dating from probably the early 1880s, these childhood sketches may be the earliest by Jack Yeats that have been preserved. Jack Yeats’ early sketches (including those sold at Sothebys 2017) are unlike any other childhood drawings we have seen, showing that Jack’s humorous and quizzical view of life took shape very early.  (1)

For Todd Andrews, Who Did Robinson (Lennox). Dark Days D. & L. 1918, sm qto, rebound in buckram with title label, orig. wrappers bound in, inscribed on t.p. ‘For Todd Andrews who did : from Lennox Robinson who didn’t / November 1954’. Four short pieces, written 1915/1916, expressing Robinson’s sympathy for the Sinn Fein rebels in spite of his Protestant background. Inscribed almost 40 years later to Todd Andrews, who did indeed fight for Ireland, as described in his memoirs. Andrews was interned during the Civil War, but graduated in commerce, and later became head of Bord na Mona, CIE and other public bodies. He was a member of the Arts Council, which may have brought him in contact with Robinson, playwright and Abbey Theatre manager. An attractive and evocative dedication. (1)

Signed by James & Lucia Joyce A Cosmological Fairytale of Dublin Joyce (James) The Mime of Mick, Nick and the Maggies. A Fragment of Work in Progress [i.e. Finnegans Wake]. MCMXXXIV [1934], Servire Press, The Hague, tall 8vo blue cloth gilt, in illus. d.w. and glassine over wrapper. Initial letter and tailpiece in seven colours and cover in three colours, all by the author's daughter Lucia. No. XX of 29 copies on Similie Japon of Van Gelder Zonen. Signed at rear by both James and Lucia Joyce. There was also an unsigned edition of 1,000 copies. Uncut and unopened, in fine condition. The glassine over wrapper rumpled and torn, the d.w. a little creased at the upper back, otherwise almost immaculate. As is well known, Lucia Joyce had mental health issues, and spent most of her adult life in an institution. There has been some criticism of her treatment by relatives, but there is little doubt that her father (who had many problems of his own) did all he could to encourage her artistic talents through ventures such as this. 'In this cosmological fairytale of Dublin, the poet presents in nuce his vision of the childhood of mankind, lifting the local elements into universal relationships of Swiftian humour and magic symbolism'. Provenance: From the collection of Joyce's friend, Thomas Pugh. (1)

First Edition with Inscription O'Brien (Flann) pseudo At Swim-Two-Birds, 8vo L. (Longmans, Green & Co.) 1939, First Edn., inscribed on f.e.p. "To My Butty, Rosemary Coyle from the Author, Brain O'Nolan," (repair to top right of page, slight foxing, plain black cloth, gilt lettered spine housed in custom made clam shell box with label. Exceedingly Rare Inscribed  Copy. (1) * Rosemary (Coyle) [1914-2004] was an Irish Artist who exhibited at the R.H.A. Her solo exhibition in 1943 was opened by Sean Keating.

Signed by the Author and Cast Shaw (G. Bernard) Geneva a Fancied Page of History in three Acts, 8vo, L. (Constable & Co.) 1939, First Edn., inscribed on hf. title "Mr. Frank Sleap's Copy G. Bernard Shaw, 16th June 1939," signed on front pastedown, "Frank Sleap, Savile Theatre W.C.2," illustrated by Feliks Topolski, signed by the cast who performed on August 1st 1938, decorated boards, lacks spine. Otherwise wonderful Assocation Copy. (1)

Moulton DeLuxe bicycle in blue bullard cuewith 4 speed Sturmey Archer gears. Bought new in late December 1964 and one owner to date. All original, except for the tyres. Originally these were white walltyres but eventually had to be replaced and exact replacements were not available at that time. Straps to the rear pannier bag are broken and need replacing. Comes with original owner's guide, tool kit and pump (not original) and for the possible interest of the purchaser, an obituaryon the designer of the Moulton, Alex Moulton, who was also involved with the design of the originalMini car.

FLEMING, Ian - Thunderball : org. black boards with skeleton hand blind stamped on the upper cover lettering in gilt on the spine, dust wrapper not p.c. with short tears but complete, stained to front of dustrwrapper, but this is only noticeable on the inside, first edition, 1961. With - The Spy Who Loved Me : black boards with a silver dagger on the front cover lettering sliver on the spine, dust wrapper is p. c. otherwise a little age discoloured, ownership signature on the front endpaper, first edition 1962. With - You Only Live Twice : black boards with Chinese lettering in gilt on the upper cover, spine lettered in silver, dust wrapper intact slight soiling, ownership inscription on the front endpaper which also has a single crease mark, first edition, 1964.(3)

BUCKLAND WRIGHT, JOHNTo BeautyUpper Denby: the Fleece Press, 2007.John Buckland Wright's work with Joseph Ishill of the Oriole Press. By Christopher Buckland Wright. One of 240 (246) copies. 9 X 6.25 ins. 60 pp. Quarter cloth with boards in marbled paper. 15 wood engravings and 6 tipped-in plates relating to the work of Buckland Wright and the Oriole Press. As new in drop-down box by Smith Settle who also produced the binding.

DARTINGTON HALL : The Report of the International Conference of Craftsmen in Pottery & Textiles. Printed paper wrappers torn with ribbon binding. Folio. July 17-27. * 153 typescript pages + appendixes. Rare, a who's who of artists and craftsmen including Bernard Leach, David Leach, Shoji Hamada, Patrick Heron, Michael Cardew, Robin Tanner, etc.$$ To be included in our Book Sale on 6th December.$$ Illustration charges £5

Graham Oakley [b.1929]-The Church Mice at Bay, p.13,Respect Rodent Rights,:-signed, watercolour and bodycolour, 17.5 x 25.5cm, mounted, unframed."In fact things were so bad that they were even willing to listen to Humphrey. He said that speaking as a chap who kept his Finger on the Pulse of the Times, he thought what was needed was a Protest March. As no one had any other ideas, they decided to give it a try.'

A Vintage Leather Case belonging to Christina Peetie who was Evacuated to Canada in 1940 together with a Collection of The Peetie Family Wartime Memorabilia to include WWI and WWII Photographs, Papers, Letters Etc and a WWI Medal Awarded to Private J Peetie Army Service Corps

Sebastiano Ricci (Belluno 1659-1734 Venice)Alexander and DiogenesOil on canvas 104.5 x 137.8cm (41 1/8 x 54 1/4in).Footnotes:Provenance:Probably purchased in Florence circa 1880 and by family descent until offeredSale, Sotheby's, London, 9 December 1987, lot 23Sale, Christie's, London, 10 July 1992, lot 57, where purchased by the late present ownerLiterature:A. Scarpa, Sebastiano Ricci, Milan, 2006, cat. 563, ill. fig. 457The present work depicts Alexander the Great meeting Diogenes, an encounter that is said to have taken place in Corinth.The philosopher and cynic Diogenes of Sinope is seated beside the barrel in which he lived having renounced all his possessions in favour of a simple and natural life. Alexander, King of Macedonia, is shown standing in sumptuous regal attire and accompanied by his attendants. When Alexander, who admired Diogenes, approached him and said, 'Ask of me what thou wilt and thou shalt have it' to which the philosopher replied, 'Stand out of my light'. Sebastiano Ricci is known to have painted four versions of the subject of Alexander and Diogenes (see: J. Daniels, Sebastiano Ricci, 1976, pp. 61, 92, 119, 140).This lot is subject to the following lot symbols: TPTP Lot 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

William Osborne, RHA (Irish, 1823-1901)Equestrian portrait of Thomas Conolly, MP, of Castletown, mounted on a dappled grey hunter in a wooded landscapeOil on canvas 112 x 133cm (44 1/16 x 52 3/8in).Footnotes:Provenance:Anon. sale, Christie's, London, 10 April 1992, lot 81With Frost and Reed Ltd., London, no. 57638Castletown House, where these portraits originally hung, is Ireland's first and finest Palladian mansion. Located in County Kildare, the house was begun in 1722 for William Conolly (1662 –1729), Speaker of the Irish House of Commons and was magnificently remodelled and decorated by Lady Louisa Conolly (1743-1821), wife of Thomas Conolly (1738-1803) from 1759 onwards. After Lady Louisa's death the Conolly estates, including Castletown, were inherited by Thomas Conolly's grandnephew Edward Pakenham (1786–1848), who then took the name Conolly. During Edward's time few changes were made to the house, probably due to the strained economic circumstances of this time. In 1848 Edward Conolly was succeeded at Castletown and Westminster by Thomas Conolly, here depicted by William Osborne, mounted on a dappled grey hunter. For Osborne's companion portrait of Sarah Conolly, seated side saddle on a light bay hunter, see the previous lot. While the 18th century history of Castletown and its residents has been extensively studied, the 19th century history of the house and its inhabitants is perhaps a little less well known. However, eight diaries written by Thomas Conolly between 1853 and 1870-71, have been preserved (collections of Desmond Guinness (1931-2020) and Irish Architectural Archive). These diaries act as an effective paper trail for life at Castletown in the mid-nineteenth century and record his activities, social engagements, hunt meets, travels and health. Thomas Conolly, owner of Castletown, the first great Palladian mansion in Ireland, was also amongst the last of the Protestant ascendancy landowners of a 'Big House' in nineteenth century Ireland and his story has been recently published by Dr Suzanne M. Pegley in her book Thomas Conolly (1823-76) of Castletown House and the social networking of power. As Pegley notes 'Although documentary evidence is limited, his contribution assured that the fabric of the house and its legacy was sustained for the benefit of his grandchildren and ultimately, if not intentionally, for the Irish people (see Suzanne Pegley, Landscapes of Power, The Social Network of the Power Elite in mid-Victorian Ireland Case Study of Thomas Conolly (1823-76) of Castletown, Co Kildare, PhD thesis, 2018, p.42).Thomas Conolly travelled extensively, including to Virginia in 1864 during the height of the American Civil War where he met General Lee, Jefferson Davis and other Confederate leaders. And his diary of that time has been acknowledged as an important record for researchers of 19th century American history (see Nelson D Lankford, ed., An Irishman in Dixie: Thomas Conolly's Diary of the Fall of the Confederacy, 1988). Upon Conolly's return to Ireland in 1864, he was forced to sell some of the Castletown lands to avert financial troubles. He settled at Castletown in 1869, marrying Sarah Eliza Shaw, the Celbridge paper miller's daughter. And following this (and the addition of her dowry of £10,000 to his fortune) the couple carried out some new work and refurbishment of Castletown. This included the decoration of the blue bedroom, the partial redecoration of the long gallery and the red and green silk rooms. The couple visited the Pitti Palace in Florence, which is thought to have been the inspiration for Castletown's red silk room which has been recently restored.The couple's decision to be painted by the Irish artist William Osborne (1823-1901), prepared for a hunt, is noteworthy. Osborne's work relating to equestrian subjects was highly admired in 19th century Ireland. See for example his great ensemble portrait 'The Ward Hunt', preserved at The National Gallery of Ireland (NGI.891). For the Conolly's, horses and hunting were the centre of their world. Conolly was an enthusiastic member of the Kildare Hunt and as Suzanne Pegley's transcriptions of Conolly's diaries have shown, he spent 30 days of 1853 hunting and was keeping twelve horses for his personal use at this time. In 1868, while the Conolly's were on their honeymoon in Paris Thomas and Napoleon III, entered into friendly competition about their horses and carriages. Conolly was considered to have won the competition because his horses were 'shod in silver' (see Boylan, 'The Conolly Family', Irish Georgian Society Bulletin, Vol XI, no. 4, 1968, p. 45). Conolly's sporting interests can be seen not just in the commissioning of these portraits but in his interventions at Castletown, his conversion of the print room into a billiards room and in 1872 his renovation of the first-floor east wing stables at Castletown creating a clubroom for social activities of the Kildare Hunt.These pictures by Osborne are certainly the most important works by the artist to appear on the market for many decades. While known as an expert hand with horses and dogs, Osborne here demonstrates his versatility by capturing his sitters with flattering skill. These pictures are a fitting tribute to the inhabitants of one of the largest estates in Ireland, an adventure loving whose impact on Castletown can still be seen today.This lot is subject to the following lot symbols: TPTP Lot 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

A fine pair of George III carved giltwood girandolesIn the manner of William France and John Bradburn, circa 1765-70The heart shaped plates surmounted by a pierced foliate anthemion crest and enclosed by a scrolled acanthus leaf carved frame above a pair of scrolling candle arms, 54cm wide x 28cm deep x 88cm high, (21in wide x 11in deep x 34 1/2in high) (2)Footnotes:Provenance: Ronald Phillips Ltd. The design of this pair of mirrors can be compared to girandoles supplied by William France and John Bradburn to Sir Lawrence Dundas for his London home at 19 Arlington Street. They were part of an extensive renovation and refurbishment of all the Dundas properties carried out under the direction of Robert Adam who employed the most renowned cabinetmakers, and resulted in what is now recognised as the one of the greatest collections of 18th century furniture. These mirrors are now at Aske Hall in Yorkshire.William France started his career working for Vile and Cobb (first recorded in Cobbs's accounts in 1759), before taking over the business in 1764 when Vile retired. Although Cobb continued in business on his own account, William France and his colleague, the cabinet maker John Bradburn, took over the business. This proved to be a successful partnership and their customers included the royal family who subsequently granted them the Royal Warrant in July 1764. Other commissions included for Kenwood House, Syon House, Burlington House and The Vyne. Literature: Graham Child, 'World Mirrors 1650-1900', 1990, p. 138, illus. 218. for a comparable.This lot is subject to the following lot symbols: TPTP Lot 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

TRINA LEWIS MAYFAIR; a blue vintage 1950s full length crêpe fully lined tiered dress with ruffle collar, size 16 (af as back zip needs replacing), a brown vintage leather long A-line skirt, fully lined, waist measure 30", and an Edwardian Steam Punk lady's costume consisting of a full length silk brown taffeta and velvet embellished with black embroidery and black beads and a matching basque style top with black embroidered front, size large, the skirt and bustle were made by Alice Strange of Alice's Night Circus, a prominent Steam Punk performer, Alice Strange is the stage name of Julia Scott, a musician who frequently performs at Steam Punk events in the UK, formerly known as Alice's Night Circus. (3).Additional InformationThe blue Trina Lewis dress is in good condition other than the zip, there are no snags or scuffs to the dress and body itself, the brown vintage skirt has signs of wear with marks to the leather in places, and the Steam Punk outfit is in very good wearable condition.

WETA; a boxed figure The Doctor and Davros from the Dr Who series.

BBC; twenty nine boxed figures from the Dr Who series.

The pefect gift for the person who has got everything, A modern silver toothpaste squeezing key from Asprey, 7.8 cm and 25.3g and with Asprey card box

A quantity of documents and photographs documenting some of the history of Manchester's Electric (Modern) Printing Company, who pioneered a modern printing style in Manchester c 1920s-1970s and would print many thousands of colourful and memorable poster designs for cinema, theatre, advertising and latterly pop concerts (inc Beatles, Hendrix etc c 1960s). This lot includes some original documents inc accounts, advertising brochures and a pack of branded and printed cigarettes (complete and unused) as well as a quantity of photo prints documenting some of the published and displayed works. The printing company were one of the many early 20th c success stories for Jewish-owned businesses operating around the Strangeways/Blackfriars/Prestwich areas of Manchester, founded by A. Sockolov and ran by the family until the 1990s.

63 photographic stills, taken during the filming of a BBC documentary broadcast in 1970 'Where the Unspeakable is Sung: The True Flamenco'. The images are of excellent quality and depict the performing cast inc Guitarist: Manuel Morao Singer: Fernando Terremoto Singer: null Chocolate Singers: La Perla de Cadiz Singer: Aurelio Selle Singer: Fernanda de Utrera Singer: Antonio Mairena Dancer: El Farruco Dancer: Diego de Margara.The images were taken by the vendor's father who worked on the film and are offered here with full copyright.Read more on the programme here - https://genome.ch.bbc.co.uk/f80f4869bfe1466abba6287f51efbbbb

Collection of 54 titles. New York, 1968-69. Incl. a.o.: Make Love, Not Water; Frankenstein '69; The Spy who came (and came); Memoirs of a Beatnik; and Fur Pie in the Sky. (total 54)

Friedländer, Hamburg, 1903. In 2 parts, each ca. 96 x 71 cm. Lith. no. 2685. A few small marginal tears, some fold. sl. worn and reinf. on verso. *Racial inequality was a fact during the 19th- and early 20th century American circus; Barnum and Bailey did not hire African Americans, other circuses used them behind the scenes as servants and builders, and sometimes in sideshows in which their colour was used to heighten the entertainment. The American Eph Thompson was one of the first black animal trainers to change this all-white perspective; at 14 he started working for the Forepaugh circus, caring for the elephants backstage. In 1885 he travelled to Europe, working for Carl Hagenbeck as an elephant trainer and from then on he – and his elephants - travelled the European circuses such as Carré and Schumann and theatres in Paris and London. He was particulary famous for the tricks of his elephant Mary, who could do somersaults.

Oil on panel, 30 x 50 cm., signed and dated 1951 in right margin, framed. With some superficially dam. spots. Nice naive painting and a relatively early work of this American born artist, who lived in Rio de Janeiro at the time.

1931. 23.5 x 18 cm. On the tiger trainer Cilly Heyderich, made to accompany an article on the famous dompteuse. Willi Ruge was a famous photographer w. his own agency in Berlin, who mostly specialized in aerial photography. W. descriptive strip w. copyright on verso by Fotoaktuell GmbH, Berlin.1 photo w. sm. fragment missing on upper edge. (total 3)

Arnhem, Sonsbeek, 1993. Softcover, 24 x 17 cm, 124 pp., ills. in b/w. Influential catalogue published in conjunction with 'The Uncanny', a now mythical exhibition staged at the Gemeentemuseum Arnhem, as part of Sonsbeek 93. Curated by Kelley, who also edited and provided text for the catalogue. This is the scarce first (and only) edition. Some rubbing to covers, else in great shape.

Friedländer, Hamburg, 1907. 96 x 71 cm. Lith. no. 4078. Middle fold sl. worn. *Oscar Carré was the son of German circus performer Wilhelm Carré, who grew up in and around circuses, starting his own career at Circus Renz. Oscar and his wife Cornelia started their own circus in Belgrade, then travelling to Russia, Austria, Germany, France and later on the Netherlands, where they would perform in Amsterdam each year. In 1875 the city council abolished traveling circuses, after which Oscar persuaded the council to build a permanent circus building. After many years of semi-permanent locations, he was granted a permit for a permanent circus building along the Amstel, nowadays still known as the Royal Theatre Carré, which is both nationally and internationally held in high esteem.

Friedländer, Hamburg, 1898. 96 x 71 cm. Lith. no. 1363. Mild wear along folds. *Racial inequality was a fact during the 19th- and early 20th century American circus; Barnum and Bailey did not hire African Americans, other circuses used them behind the scenes as servants and builders, and sometimes in sideshows in which their colour was used to heighten the entertainment. The American Eph Thompson was one of the first black animal trainers to change this all-white perspective; at 14 he started working for the Forepaugh circus, caring for the elephants backstage. In 1885 he travelled to Europe, working for Carl Hagenbeck as an elephant trainer and from then on he – and his elephants - travelled the European circuses such as Carré and Schumann and theatres in Paris and London. He was particulary famous for the tricks of his elephant Mary, who could do somersaults.

Friedländer, Hamburg, 1907. 96 x 71 cm. Lith. no. 4508. Mild toning along folding lines. *Racial inequality was a fact during the 19th- and early 20th century American circus; Barnum and Bailey did not hire African Americans, other circuses used them behind the scenes as servants and builders, and sometimes in sideshows in which their colour was used to heighten the entertainment. The American Eph Thompson was one of the first black animal trainers to change this all-white perspective; at 14 he started working for the Forepaugh circus, caring for the elephants backstage. In 1885 he travelled to Europe, working for Carl Hagenbeck as an elephant trainer and from then on he – and his elephants - travelled the European circuses such as Carré and Schumann and theatres in Paris and London. He was particulary famous for the tricks of his elephant Mary, who could do somersaults.

sous la direction de M. Eugene Grasset (1845-1917). Paris, Librairie centrale des Beaux-arts, 1896. 1 vol. (of 2). Book of plates in flower and plant motifs to be adapted for decoration. Folio of 72 plates. Cont. binding with marble paper. Lacking 23 plates, spine and corners of binding worn, slight foxing, otherwise in good condition.Eugène Samuel Grasset was a Swiss decorative artist who worked in Paris, France in a variety of creative design fields during the Belle Époque. He is considered a pioneer in Art Nouveau design. In addition to being one of the most in-demand graphic artists of the late nineteenth century, Grasset was also a teacher and theorist. After years of expounding his influential theories at various art and design schools of Paris, in 1896 he published La plante et ses applications ornementales, a pictorial summation of his key idea concerning the use of natural forms as the basis for developing decorative motifs. The work featured designs from his students, incl. a.o.: Paul Berthon; Augusto Giacometti; Arsène Herbinier; Juliette Milési; Otto Ernst Schmidt; Auguste Silice; and Maurice Pillard Verneuil. A work of beautiful designs with vibrant col.

Original edition of the book edited by the Italian curator who invented the term 'Arte Povera'. Milan, Mazzotta Editore, 1969. Softcover with flaps, 23 x 21 cm, 240 pp. Prof. ill., texts mostly Italian, some English.Work by 35 contemporary American and European artists such as Anselmo, Barry, Boezem, Calzolari, Dibbets, Hesse, Van Elk, Fabro, Heizer, Huebler, Kounellis, Kosuth, Long, Merz, Oppenheim, Penone, Pistoletto, Smithson, Weiner and Zorio. Slight toning on cover, moderate bump to upper spine, generally a very good copy.

Friedländer, Hamburg, 1908. 3 loose parts, each ca. 86 x 68 cm. Lith. no. 4310. Sl. worn and toned along folding lines, some edges brittle, reinf. on verso. *Nick Kaufmann was the first cyclist to organize an unofficial "world championship" in artistic cycling in 1888. After his own cycling career, the Swiss-American became an impressario who managed several troupes to perform wonderful bicycle acts, including an all-girl group called the Kaufmann's Cycling Beauties, as seen here.

(1) Sale of goods and inheritance notes on posessions in Amsterdam on the "vlasbloemsteeg over de appelmarkt" for Sara and Maria Reringh, acting on behalf of Pedro Reringh, who is appointed at the Hollandse Natie in Lisbon. Signed and dated 1753. Folding vellum with hanging seal. (2) Payment for Cornelis Crieckaert from Johan van Dijck. Signed and dated 1678(?). Folding vellum with large hanging seal of Hulsterambacht. (3) Letter of transport for the cost of transport in the area of Pernis and Madroel, near Rotterdam. Signed and dated 1752. Folding vellum with paper seal. -and three more on the Rotterdam regions of Pernis, Charlois and "Deysselsbroek". (total 6)

New York, Aperture, 2016. Signed by the author and photographer, hc w. dust-j, red cl. folder in red cl. handmade slipcase w. 2 C-prints, 23.5 x 28.7 cm, signed and numb. 23/25 on verso.The 1st C-print shows Elena (31), a dancer at the strip club inside the Hotel Zhemchuzhina called Art Klub, where she has been working for 18 months. The 2nd shows Hamzad Ivloev (44), ex-policeman in Karabulak, who, when his checkpoint was under attack, threw himself onto a grenade to save the rest.

Ein Name der die Welt umspannt. Friedländer, Hamburg, 1928. 96 x 71 cm. Lith. no. 8276.Mild toning along fold. lines. *The Hagenbeck family consisted of Carl and Wilhelm who initially both managed their own circus. Carl (Sr.) later became particularly known as the founder of the modern day zoos with more natural enclosures for the animals, but also for the 'human zoos' exhibiting 'purely natural' populations such as the Nubians.

Wooden archive box, 37 x 18 x 12 cm, containing 414 stamped artists' postcards.Collaborative project of Boumans in Amsterdam and Olbrich in Kassel, who asked stamp artists to contribute their favourite stamp for a travelling exhibition in a box. Two identical sets were assembled, presented in a display box designed to be send and exhibited around the world. The first presentation venue for Olbrich's box was the High School in Kassel, Boumans' box featured at the AKI art academy in Enschede and then travelled to the Jewish Museum in Amsterdam (the museum laminated the cards).The project was a work in process, cards were added until 1986. This lot contains Boumans's box. Added is an information leaflet about the project with a list of participants (in 1983), and some extra documentation. Artists' contributions by Metallic Avau, Vittore Baroni, Guy Bleus, Paulo Bruscky, Sonja van der Burg, Robin Crozier, Pier van Dijk, Galantai, Claudio Goulart, Klaus Groh, Hetty Huisman, Jupitter-Larsen, Graciela G. Marx, Ruggero Maggi, Willy Scholte, Vigo et al.

Engr. on paper, with ms. in ink, 20.5 x 16.5 cm. Allegorical engr. note showing some members of the Schutterij and the Stedemaagd holding the coat of arms of Amsterdam holding a banner with the text: "'t Geweten vry, Geen dwing'landy, Maar reght en vrijheid, Der burger blijheid, Dat is de saak, Waarom ik waak." The appeal states: 'Onder de Kompagnie van de Ed'le manh. Heer Kapitein "Hendrik Coeijmans" werd UE. "Jacob van Ham" de wagt aan gesegt, om met UE. Volle geweer te compareeren ter plaatse, nader bij Trommel-slag zal werde bekent gemaakt om geleesen te worden onder het "eerste" corporaalschap "Ambrosius Gerrand". Corporaal A.o. 17"49". Deze burger wagt briefjes werde verkogt, in de oude lojer-straat by Korselis de Jager, plaatsnijder'. The names and date are added by hand in ink. These types of notes were used to summon the new soldiers of the Schutterij for the civilian guards, who were responsible for the order and safety in each of the 16 civilian districts of Amsterdam.

Friedländer, Hamburg, 1905. 96 x 71 cm. Lith. no. 3475. Mild wear, sl. toned, reinf. on verso. *The Hagenbeck family consisted of Carl and Wilhelm who initially both managed their own circus. Carl (Sr.) later became particularly known as the founder of the modern day zoos with more natural enclosures for the animals, but also for the 'human zoos' exhibiting 'purely natural' populations such as the Nubians.

(1) Vinyl record Philip Glass and Robert Wilson, Einstein on the Beach, 1979. Tomato edition TOM-4-2901, complete with 4 albums. Signed by Glass on the cover of the inlaid booklet. Lid has some agewear, else a fine copy.2) Vinyl record Philip Glass, The Photographer, 1983. CBS 37849. Signed on the information sheet in interior by Robert Malasch, who conceived the theatre production of The Photographer. (3) Philip Glass The Complete Sony Recordings, 2016. Boxed set of 24 cds featuring 139 tracks, still sealed, mint condition. (total 3)

par le citoyen Formage. Paris and Rouen, Barrois and Periaux, "An VIII" (1799 or 1800), 2 parts in 1 vol. (12), 252; (4), 308 p. Contemp. hcalf, gilt spine w. mor. letterpieces. A good copy w. minimal imperfections.Authenticated by the author. 1st ed. of a collection of 290 orig. fables in verse that reflect the spirit of the French revolution. Interestingly, some of these fables condemn slavery and call for freedom of slaves. Quérard III, 163; Frère, Normandie I, 478. (2) G.A. le Monnier. Fables, contes et épitres, par M. l'Abbé Le Monnier. Paris, A. Jombert père a.o., 1773. (24),215,(1 blank),7,(1) p. W. engr. frontisp. by B.L. Prevost after C.N. Cochin, contemp. marbled calf, ribbed and gilt spine w. mor. letterpiece, marbled edges. 1st ed. of orig. fables by Monnier (1721-1797), a French priest and literary author. Attractive copy from the library of the prolific French writer and traveler James Condamin (1844-1929), a priest and canon who became professor in literature in Lyon. W. his owner's entry dated 1912 on first free endpaper, his stamp and an old catalogue clipping on the title-p., and some short annotations in pen at the beginning of the work. Cohen-De Ricci 621; Cioranescu 39140. -and 3 others (1802-1810), incl. a rare French language Baltimore imprint by Warner & Hanna (1810). (total 5)

Friedländer, Hamburg, 1906. 96 x 71 cm. Lith. no. 5105. Mild wear and toning along folds, reinf. on verso. *Oscar Carré was the son of a German circus performer Wilhelm Carré, who grew up in and around circuses, starting his own career at Circus Renz. Oscar and his wife Cornelia started their own circus in Belgrade, then travelling to Russia, Austria, Germany, France and later on the Netherlands, where they would perform in Amsterdam each year. In 1875 the city council abolished traveling circuses, after which Oscar persuaded the council to build a permanent circus building. After many years of semi-permanent locations, he was granted a permit for a permanent circus building along the Amstel, nowadays still known as the Royal Theatre Carré, which is both nationally and internationally held in high esteem.

Met een voorwoord door Henri Polak. Photomontages en omslag door Lex Althoff. Amst., De Arbeiderspers, 1932, 76 p., 8 photomontage plates and orig. photomontage wr.Foxed at the beginning and end. Wrappers torn on spine, a few sm. letters in ballpoint on frontwr. and owner's entry on inside of wr. Adrian Aloijsius Felix Althoff (1904-1943) was a Dutch journalist, avantgarde photographer and resistance fighter, who was executed by the Germans on the Leusderheide on July 29, 1943. This particular publication brings attention to the poverty of the Jews of Poland. -and 1 other with photomontage wr. (total 2)

Nice, self-published, 1963-1964. Two brown folders assembled in printed kraft paper wrapper, 31 x 22 cm, housing approx. 35 loose sheets of various colours, with collages, stamps, texts and editions by Ben Vautier. The covers of the separate folders are profusely decorated with original collages (on front, cover and interior). There are 2 extra cardboard sheets pasted to the wrapper as well as a printed sheet featuring the window of Gallery One in London. This copy is from 1964 and belonged to Rudolf Peereboom, who was the owner of Galerie Amstel 47 in Amsterdam where Ben did one of his first shows in Nov./Dec. 1964. It is signed and dedicated to 'brother RP' on the first page.The magazine was meant to be produced in an edition of 300, but far fewer copies were made. All copies are unique, there appear to be variations in content between any two copies. Wrapper with wear especially along spine area, mirror pasted on one of the folders is broken, some collages have loose parts as tape and glue has lost its grip, but most sheets are in good condition. Rare item.

(1) Dokumente, 1982. Clasp bound, 29.5 x 21 cm, ca. 100 photocopied pp. Catalogue for a 100-day exhibition series organized by Olbrich at his art space Kunold Strasse 34 in Kassel, simultaneously with Documenta 7. Every day another artist was invited to present something and contribute to the catalogue. Artists included Ria Pacquee, Michael Gibbs, Klaus Groh, Robert Rehfeldt, Wulle Konsumkunst, Klaus Staeck, Rod Summers et al. (2) Collective Copy and Test Copy, 1983. Artists' books featuring thrown away photocopied sheets (by unknown people) collected and assembled by the artist. Olbrich sent free copies to people from his mail art network, who could only get one Collective Copy and one Test Copy in their lifetime. This sample derives from Bart Boumans, with original envelope and note by Olbrich. (3) 16 items sent by Jürgen O. Olbrich to Boumans, providing great documentation on Olbrich's mail-art and Kunoldstrasse activities. (total 19)

(1) Jolanta Marcolla. Lublin (Poland), Galeria LDK Labirynt, 1976. Designed by the artist, Warsaw. Stapled booklet, 20 x 14 cm, 12 pp., printed b/w. Overview of works divided in categories photo, painting, video, film. (2) Jolanta Marcolla, Relacje: Photo, Film, Video. Warsaw, Mala Galeria, February 1979. Staplebound, 19 x 19 cm, 12 pp. plus inserted essay in English by the Polish art historian Bozenna Stokfosa, 4 pp. Features b/w reproductions of works. Stamp of Marcolla on cover. Great publications by the groundbreaking Polish artist Jolanta Marcolla (1950-), who made experimental films and conceptual photographs and co-founded 'Gallery of Actual Art' in Wroclaw in 1970. (total 2)

San Francisco & New York, Western Authors Publishing Co., 1892. 1st ed. Blindst. cl., frontisp. portrait. Sl. soiled, stain on back cover. (2) Tales of Soldiers and Civilians. New York, United States Book Co., 1891. 1st New York ed. Contemp. hcl. Sl. dam. to upper outer spine. (3) In the Midst of Life: Tales of Soldiers and Civilians. London, Chatto & Windus, 1892. Gilt lettering and ornamentation, early U.K. ed. Worn, lacks French title. (4) Josephine Clifford McCrackin. The Woman Who Lost Him and Tales of the Army Frontier. W. introd. by Ambrose Bierce. Pasadena, G. Wharton James, 1913. 1st ed. Worn. -and 2 more. All 8vo and w. bookplate. (total 6)

Arnhem/Middelburg, Brummense uitgeverij van Luxe Werkjes / Kunstinformatiecentrum, 1975. Hardcover, 30 x 21 x 2 cm, 90 pp. Linen covered boards, blindstamped title on front, black title on spine. Made in a limited edition of 51 copies and 39 hc reserved for the participating artists. This copy numbered 11 in pencil. Very good condition.Scarce artists' publication with original stampings selected by Jan Brand and Peter van Beveren who ran the Kunstinformatiecentrum in Middelburg. Contributions by Ulises Carrion (Open Closed), Geza Perneczky, Robert Jacks, Ken Friedman, Klaus Groh, John Armleder, Endre Tot, COUM Genesis P. Orridge, GJ de Rook, ULAY, Jiri Valoch, Peter Below, Hervé Fischer, Robert Rehfeldt, John Liggins, Johan van Geluwe et al.

(1) Brochure and envelope "Nieuwe Kunstschool", ca. 1938.(2) Kermesse Artistique. Brochure and invitation for the Society of Friend from de Nieuwe Kunstschool Amsterdam, 1938. Des. in shape of a tie. (3) Fotocursussen Carel Blazer. 10 p. Brochure, ca. 1940. Design Hajo Rose. From the archives of Kurt Löb, incl. handwritten note and envelope to Kurt Löb by Eva Besnyö, who donated the brochure. Rose taught advertising at the Paul Citroen New Art School for which he des. all publ. materials. (See: Broos/Hefting 'Grafische vormgeving in Nederland, 1993, p. 130/131). (total 3)

1929-1940. Various sizes, max. 24 x 28.5. Incl. a.o.: preparations for the World's Economic Conference of 1933; the Royal Mint coining the first money of 1932; strikes at the Ford factory; the Radiolympia; the last generation of "knockers-up" who woke up workers by shooting peas at their windows; and lovely views of the city of London and its streets and parks. Almost all w. descriptive strip and copyright stamps on verso by Keystone and Fotobureau Holland.(total 35)

Los Angeles/Pasadena, 1963. Rare posters and envelope presenting a very early show by Ader (his second show) and his future wife at Robin Metze Gallery, Pasadena California, while they were students at Otis Art Institute. Includes: (1) Bas Jan Ader, Immaculate College of Art presents Bas Jan Ader: Paintings and Serigraphs at Robin Metze Gallery Pasadena Sept. 14 - Oct. 10, 1963. Poster, 50.5 x 43 cm, printed black on thin bright yellow paper, folded three times. (2) Mary Sue Anderson, student at Otis Art Institute, Sculptures. Robin Metze Gallery Pasadena reception Sept. 14 1963. Poster printed black on thin bright green paper, folded twice. 50.5 x 35 cm. Both prints together in frame, 86.5 x 56 cm.(3) Silkscreened envelope, 23 x 30.5 cm, for the above posters, 'come to Robin Metze Gallery Pasadena September 14, 1963.' Sent by The Immaculate Heart College, Dept of Fine Arts, Los Angeles California addressed to Joe Carmichael in Pasadena CA. In frame, 28.5 x 36 cm. Prints and envelope with minimal traces of use. Born in Holland in 1942, Ader settled in Los Angeles in 1963. Though enrolled at OTIS Art Institute (1963-1965), the graphics on the poster and envelope are reminiscent to Sister Corita Kent who taught at the Immaculate Heart College, also in Los Angeles. (total 3)

Documenting the selling of "een lijnbaan, genaamd het huis te Egmond, met der zelver heeren- en verdere huizinge, stoof en teerhuis, tuinen, zolders en een stal met vier paerden, mitsgaders de gereedschappen (...) langs de Schans, over de Roose-Straat, op de Westzijde van de Baangracht (now Lijnbaansgracht)", dated 4 July 1771 and signed by notary M. Witsen, with attached paper tax seal, ca. 31 x 27.5 cm, framed under passepartout.A few waterstains and with folds. Nice specific document, drawn up in the presence of the Amsterdam "scheepenen" Gerrit de Graaff and Theodore Boendermaker. Cornelis van Laar, who acquired the house on 8 December 1740, represented by Cornelis van der Vliet. Van Laar sold the premises at auction on 10 June 1771 to Johannes Luden Hendriksz. and Hendrik van Waning.

London, Royal College of Art, 1958. 27 x 21.5 cm, 48 pp. Original wrapper, fluorescent orange version (the other being fluorescent green) featuring a printed drawing and added cuts made with a sharp object by Fontana (1899 - 1968). First sheet contains a stamp by Dutch Zero artist Henk Peeters, who also seems to have written 'ARK/Fontana' on the spine. Slight scuffing along spine and some minor irregularities on cover. Some of the glue-bound pages in the center part are starting to get loose.ARK (1950-1973) was an academic journal of the Royal College of Art published by students, usually displaying work by graduates. This issue includes a text about Fontana's 'Technical Manifesto' (1947) with some light corrective pencil marks presumably by Peeters. Scarce copy.

Friedländer, Hamburg, 1909. 96 x 71 cm. Lith. no. 4582. Mild wear along folds and edges. *Oscar Carré was the son of a German circus performer Wilhelm Carré, who grew up in and around circuses, starting his own career at Circus Renz. Oscar and his wife Cornelia started their own circus in Belgrade, then travelling to Russia, Austria, Germany, France and later on the Netherlands, where they would perform in Amsterdam each year. In 1875 the city council abolished traveling circuses, after which Oscar persuaded the council to build a permanent circus building. After many years of semi-permanent locations, he was granted a permit for a permanent circus building along the Amstel, nowadays still known as the Royal Theatre Carré, which is both nationally and internationally held in high esteem.

Dusseldorf, Edition Hundertmark, 1979. Small wooden box, 3 x 7.5 x 5 cm, with a sliding lid featuring the title stamped in blue. Houses 3 wooden objects resembling dice/chairs. Edition of 75, signed Takako, dated '79 and numbered 56/75 on the interior of the lid. Very good copy. Rare item, part of the Gilbert and Lila Silverman Fluxus Collection at Moma New York. Takako Saito (b. 1929) is a Japanese artist who has lived in Düsseldorf since the late 1970s. Her work is rooted in everyday life and the joy of playing. She contributed a number of performances and artworks to the Fluxus movement such as her conceptually radical chess set designs.

1934. 24 x 18.5 cm. Depicting the nomadic Turkmeni people on the steppe. W. copyright stamps and descriptive strips of the Associated Press. Lotte Errell was a famous Jewish photographer who worked mostly during the interwar period. 1 photo w. sm. tear in upper corner. (total 3)

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