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Lot 9
Brewhouse Press.- Hickman (Trevor) The Execution of a Bookbinder: James Cook, number 47 of 75 copies, 2 linocuts by Rigby Graham, one large in colours and signed in ink, rather browned and stained, with printed 'Apology' for poor presswork loosely inserted, folder a little rubbed at edges, 1966; Cave (Roderick) The Dance of Death, [2 copies], numbers 71 & 150 of 150 copies, large linocut by Trevor Hickman, 1967 § Hoy (Peter) Silence at Midnight [&] Silence a Minuit, each one of 200 copies, folder lightly foxed, 1967 § Graham (R.) & T.Hickman. One Hour Less: A Bookbinder Dies from Gaol Fever, [2 copies], one of 200 copies, large colour lithograph by Graham, 1968 § Holt (Penelope) Roger Payne: Bookbinder, one of 200 copies, 1969 § Graham (Rigby) Paul Gauguin: Woodcutter and Private Printer, one of 200 copies, 1969 § Potocki (Count, of Montalk) Myself as a Printer, one of 240 copies, 1970 § Graham (Rigby) Monotypes, 1970 § Lord (John) William Blake: Private Printer, one of 300 copies, 1972 § Tucker (Alan) Reading Games, one of 300 copies, 1973 § Stevens Cox (Gregory) The Earliest Books Printed in Germany, one of 300 copies, 1973 § Graham (Patricia) The Brewhouse at Wymondham, one of 90 copies, 1974, Brewhouse Press Broadsheets Nos.1-13, mostly large single sheets folding to 4to, all with illustrations, many by Rigby Graham, the earlier nos. with large illustration filling verso of folding sheet (c.410 x 340), all loose in printed/pictorial folders, with list of broadsheets and an unsigned out-of-series copy of the first, together in original morocco-backed board drop-back box by Trevor Hickman with pictorial sides by Rigby Graham, spine gilt, a little rubbed at corners, spotting to edges, 4to, Wymondham, Brewhouse Press⁂ A complete set of the 13 Brewhouse Broadsheets and with the list of broadsheets given to those few with complete sets. The first broadsheet relates the tale of James Cook, a Leicester bookbinder who murdered John Paas, a maker of bookbinding tools, by hitting him over the head with an iron press pin and then attempting to dispose of the body by cutting it up and burning it. After a chase in a rowing boat Cook was arrested, tried and sentenced to be hanged and then suspended in an iron gibbet cage.
Lot 220
A SET OF THREE COTSWOLD SCHOOL FIREPLACE TOOLS ERNEST GIMSON FOR BUCKNELL, CIRCA 1900-1910 Each with featherband motif and loop tops and to include: shovel 76cm long: and a similar pair of log pincers/tongs This exact pattern of fire tool, with the loop top above scrolls and engraved heart top- but with rhomboid pattern to the shafts and not featherband as here, can be seen in Dennis Moss photograph of work by Gimson in the Leicester Museum. Condition Report: Overall with marks, knocks, scratches, abrasions, and signs of age and use for their intended purposes, with the associated wear and losses as to be expected. The metal surface with pitting and oxidisation, these appear to have been 'blacked', there is wear to this from use and handlingThe shovel pan and stem are fixed strongly at the join, the tong's hinge is firm and tight at time of reportPlease see additional images for visual reference to conditionCondition Report Disclaimer
Lot 221
A STEEL AND IRON FIRE GRATE EARLY 20TH CENTURY Incorporating an earlier fire back with figure coming through drapes, scrolling floral surround, 75cm wide, 75.5cm high, 39cm Together with fireside tools to include; a large leather log bucket, 40.5cm high, top 38cm diameter, a log fork and a pair of elm bellows, 65cm long
Lot 50
ENGLISH SCHOOL (EARLY 17TH CENTURY) PORTRAIT OF A MAN WITH A PICKAXE AND A SPADE IN A LANDSCAPE Oil on panel Inscribed 'QVIA PATER CREDIDIT MVLIERI' (upper left) and 'ATATIS SVA. 36. A. DNI 1601' (upper right) 104.5 x 82cm (41 x 32¼ in.)Literature: E.S. Whittlesey, Symbols and legends in Western art; a museum guide, New York, 1972.This Elizabethan portrait of an unidentified member of the gentry by an unknown artist is replete with symbols, which depict the sitter's social standing. Dressed in aristocratic, ornate costume - a white linen under shirt with tassels and frilled cuffs; a red, billowing over shirt; silver and gold belt and black breeches with silver thread detail - the agricultural tools he carries, attributes of the hedger and ditcher, are a stark contradiction. The portrait is a morality painting about the illegitimate birth of the sitter and perhaps his exclusion from inheriting his 'paternal' social status and property. This is reinforced by the inscription on the upper left: 'QVIA PATER CREDIDIT MVLIERI' / 'Why should the father have believed his wife' suggesting that the 'father' was made a cuckold by his wife. The spade and pickaxe (mattock) represent Adam and Eve and the Expulsion from the Garden of Eden: for her disobedience, Eve was condemned to painful childbearing and to be ruled over by Adam, and Adam had to toil in the fields with a spade or hoe for his daily bread until he died (Hall's Dictionary of Subjects and Symbols in Art, p. 5). The pickaxe is also an attribute of Pluto or Hades, ruler of the underworld, and thus a further allusion to the ignominy of the sitter's birth (Whittlesey, p. 133). The painting was possibly commissioned by the sitter himself; an inscription on the upper right of the portrait records the age of the sitter and the date the painting was made: 'ATATIS SVA. 36. A. DNI 1601'. This proposal is strengthened by the inclusion of positive symbols such as the rising sun, often used as a symbol of hope, new beginnings, and the promise of a better future - although equally the sun can be read as 'the attribute of truth personified because all is revealed by its light' (Hall, p. 292). However, the pickaxe represents breaking through obstacles or barriers that stand in the way thus overall the painting's message is possibly triumph over adversity. Although no other closely related portrait has come to light, in 1644, Jan Steen painted Celebrating the Birth in which there is a subplot that the 'father' has been made a cuckold (Wallace Collection, London, Inv. P111). Condition Report: The following condition report has been provided by Hamish Dewar, Fine Art Conservation. Please contact housesales@dreweatts.com to access the full report with additional images. Structural conditionThe panel has vertical joins which have in the past been secured with canvas strips. The joins are visible in a raking light but appear to be reasonably secure, as are a number of other repaired splits and fracture lines within the panel.Paint surfaceThe paint surface has old historic discoloured varnish layers, together with numerous old retouchings which are visible in natural light and have also discoloured. They are also clearly visible under ultraviolet light. There are also areas of wear and abrasion which have not been retouched, such as those on the sitter's jacket.As the painting is stable it may well be felt that rather than fully cleaning the painting, and removing the old retouchings, it may be preferable to merely very lightly surface clean and revarnish the paint surface and not remove the old retouchings. If one was to remove all the old retouchings, and then retouch where found to be necessary, this would involve a considerable amount of work.SummaryThe painting has therefore undergone a considerable amount of restoration in the past but is now reasonably stable.Condition Report Disclaimer
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