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Lot 379
A collection of x12 original boxed Graham Farish N gauge model railway trainset locomotive rolling stock wagons and coaches / carriages. Examples to include No. 374-819MK1 FO First Open Coach, 2115 South Leicester Plank Wagon, 2301 LMS Single Vent Van, 2201 LMS Mineral Wagon and others. All models appearing mint, within original boxes.
Lot 612
A large collection of x68 assorted Lledo Days Gone diecast model cars along with accompanying reference magazines. Examples to include Morris Minor Tetley Van, Bedford Kellogg's Van, Morris Parcel Van Teachers Whiskey, Scammell Tanker Truck Shell Petrol and others. All models appearing mint within original blister packs along with associated magazines.
Lot 477
A collection of x6 Corgi Premium Edition 1/50 scale diecast model vehicles from the Brewery and Post Office range. Examples to include 22705 Post Office Telecommunications Bedford Box Van, 23802 Post Office Supplies Dept Albion Clydesdale Dropside Trailer, 23202 Whitbread Bedford TK Platform Lorry with crates and others. Models appearing mint, with original boxes and outer sleeves.
Lot 739
A collection of x7 boxed Eddie Stobart diecast model trucks and lorries by makers Corgi, Vanguards and Atlas Editions. Examples to include; Corgi 59601 Ford Cargo Box Van, 58112 Transit Van, Vanguards Morris Minor Van, Atlas Editions Volvo FH Fridge Trailer. Models appearing mint, within original boxes.
![*19TH CENTURY VAN HAVEN MAHOGANY DOMED MANTEL CLOCK (WORKING). WITH ORIGINAL KEY [LQD215]](https://cdn.globalauctionplatform.com/3db62bec-efb8-43e6-a11e-adc000eceeee/5a255faf-9e82-4bba-b4c2-adc1011d518e/468x382.jpg)
Lot 315
Helmont ( Franciscus Mercurius van) The Paradoxal Discourses...concerning the Macrocosm and Microcosm, of the Greater and Lesser World, And their Union, 2 parts in 1, first English edition, translated by J.B., 2 engraved plates, E8 torn, some light water-staining, pagination just trimmed in a couple of places, contemporary sheep, rubbed, rebacked, corners worn, [Wing H1393; Wellcome III, 241; Duveen p.284; Osier cat. 2928], 8vo, Printed by J.C. and Freeman Collins, for Robert Kettlewel, 1685.⁂ First English edition of this series of essays on philosophical, scientific, medical and theological matters by the son of the Flemish chemist and physician Jean Baptiste van Helmont (1577-1644). Francis Mercurius was a tutor and friend of Leibniz and was an important figure in the publication of early Kabbalistic texts.
Lot 258
Speed (John) An Epitome of Mr. John Speed's Theatre of the Empire of Great Britain, 2 parts in 1, additional engraved title (trimmed and laid down), 90 engraved maps (2 folding) by Pieter van den Keere after Speed, occasional foxing and staining, contemporary calf, rebacked and corners repaired, [Wing S4879; Skelton 93], oblong 8vo, Printed for Tho. Basset, and Ric. Chiswel, 1676.⁂ Enlarged and last edition, which includes for the first and only time the maps of Virginia, New England, Jamaica, Barbados, Carolina, East Indies, and Russia. The 'Prospect' has separate title with imprint 'Printed by W. G. 1675'.
Lot 227
BEALE (Thomas) The Natural History of the Sperm Whale ... To which is added, a Sketch of a South-Sea Whaling Voyage, 2nd edition, John van Voorst, 1839, large 12mo, half-title, 3 wood-engraved plates including frontispiece, Geology Museum library stamps to first leaves, publisher's cloth, Westleys & Co binder's ticket
Lot 284
Natural history - plants, remedies, reptiles, and insects. BADHAM (Charles D) A Treatise on the Esculent Funguses of England, 2nd edition, 1863, 8vo, 12 hand-coloured lithographed plates, some pencillings, original cloth gilt; DARWIN (F) The Life and Letters of Charles Darwin, in 3 vols., John Murray, 1887, 8vo, (Vols. II & III marked 'fifth thousand revised', wood engraved portrait frontispiece to each vol., one engraved plate of facsimile handwriting, scattered light foxing, half calf, a little rubbed; with various titles by Brooke and Bone, Thornton (Herbal, 1814), Van Beneden (Animal Parasites, 1883), also Leighton, Boulenger and Clermont on Snakes and Reptiles, etc., 19th and 20th century (26)
Lot 154
WARD (Edward) The History of the Grand Rebellion, in 3 vols., 1st ed., 1713, 8vo, numerous portraits by Van der Gucht, Vertue and others, after Van Dyke and other artists, three folding maps by Hermann Moll at rear of third vol., extra-illustrated, one or two added portraits substituting a plate, variable toning, in later panelled period style full calf with spines and morocco labels (3)
Lot 279
GOSSE (Philip Henry) A History of the British Sea-Anemones and Corals. London: Van Voorst, 1860, 8vo, 12 plates (11 of which printed in colours), slight sporadic foxing, original green cloth gilt; The Birds of Jamaica, 1847, 8vo, cloth; A Naturalist's Sojourn in Jamaica, 1851, 8vo, 8 lithographed plates as required, some hand-coloured, somewhat toned and stained, original cloth, a little worn; The Romance of Natural History, first and second series 1860-61, 8vo, bright cloth gilt; Popular British Ornithology, 2nd edition 1853, 8vo, 20 coloured lithographic plates, original cloth; A Manual of Marine Zoology for the British Isles, 2 vols. 1855-56, 12mo, interleaved, half morocco; with 3 others by Gosse (10)
Lot 601
19th century English School after SIR ANTHONY VAN DYCK, half-length portrait of a child of Charles I holding an apple, oil on canvas, decorative period carved Florentine giltwood frame (18 x 14 ins, 46cm x 36cm), Provenance: The property of a lady by descent and formerly in the Abberley Hall Collection, Worcestershire, Condition Report: basically sound, very dirty, superficial blemishes
Lot 640
*A varied selection of framed and glazed etchings etc. to include 'An Artist's Proof, High Street, Burford' signed by Claire Dalby, together with two limited edition (17/50 and 9/50) monochrome etchings by Miriam MacGregor depicting felines, a box framed and glazed limited edition monochrome etching (5/100) 'Cat in a Chair' signed lower right by the artist Sarah van Niekerk and one further late 18th century hand-coloured engraving 'L'ours de mer' by C.de Bouffon, provenance: Talbot Court Galleries, Stow on the Wold (5)
Lot 671
English Civil War interest: six portraits of Oliver Cromwell and two facsimile documents. A late 19th / early 20th century watercolour (17 x 16cm), two coloured engravings (the larger after Holbein in glazed ebonised frame (20x 18.5cm) and four unframed monochrome prints; a facsimile letter - Oliver Cromwell to William Lenthall (June 14th 1645) announcing the victory that day at Naseby (glazed maple frame); a facsimile of the January 29th 1648 death warrant of Charles I (glazed Hogarth frame) and a monochrome print of Charles I after van Dyke.
Lot 29
A pair of early style (early 20th century) large Dutch Delft baluster-shaped cannisters (possibly tea); each marked in cobalt blue A.N.C.S., circa 1920s, marked in cobalt blue to the underside Made in Holland and Martin. van. Straaten. & Co. (glaze crazing and cracks to lips) (36cm high x approx. 5cm diameter)
Lot 65
Jules (Pierre) van Biesbroeck (Belgian, 1873-1965)Portrait de jeune femme berbere signed 'Van Biesbroeck' (lower right)red chalk on paper30 x 23cm (11 13/16 x 9 1/16in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 147
FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant Scene in an Interior. Oil on panel. Signed. With label of the Sala Parés (Barcelona) on the back. Measurements: 62,5 x 88,5 cm; 78,5 x 104 cm (frame). Author belonging to the German Golden Age, he was the son of the painter Adriaan Verwilt of Antwerp and was apprenticed to Cornelius van Poelenburgh (1586-1667) in Utrecht together with Jan van der Lijs, among others. Verwilt became a versatile painter in many genres, including historical, mythical and biblical landscapes, genre works, portraits, still lifes and contemporary interiors of agriculture and middle-class urban life . He is considered part of the "Poelenburch school of landscape painting". His colours range from the style of Poelenburgh in his landscapes to the chiaroscuro of Rembrandt in depictions of contemporary Dutch life. His paintings are represented in many museums, including those in Amsterdam, Rotterdam, Haarlem, Budapest, Leningrad, Mainz, Osnabrück, Paris, Vienna and elsewhere. There are no biographies or monographs of his works. This painting brings together the most valued attributes of Flemish painting, which during the Baroque period was able to perpetuate the refined technique of masters such as Van Eyck in the treatment of detail, while at the same time domestic scenes gained in naturalness, as we see in this lively interior. An informal gathering seems to be taking place, a meeting of aristocrats enlivened by the music of violinists. A lady is practising her singing, a servant is pouring wine, a noble couple are exchanging confidences.... The ochre and earthy tones of the room act as a chromatic counterpoint to the gauze and velvet cloaks worn by the guests. The glazes of the glass, the collars and breastplates of fine lace, the pleating of the sleeves, the faces alight with conversation..., the precious detailing is combined with the general capture of a warm, welcoming atmosphere. Although Brussels was the political centre of Flanders, Antwerp was the city where the most important artistic activity had been centred since the 16th century. Antwerp had enjoyed a prominent position in Europe during that century, as its port had been the busiest in the Netherlands, and the Netherlands had prospered as a maritime power. Antwerp retained its pre-eminent position as an artistic centre for much of the 17th century, so that when Jan Brueghel, Rubens and Van Dyck were appointed court painters to the Archduchess Elisabeth, they imposed the condition that they could continue to maintain their workshop in Antwerp, rather than going to reside with the court in Brussels. Genre works, or scenes from everyday life, were very common in the 17th century. Many artists followed Pieter Bruegel the Elder's tradition of depicting lower-class peasant scenes, although elegant upper-class subjects were also common, with elegantly dressed couples at balls or in love gardens. Adriaen Brouwer, whose small paintings often show peasants brawling and drinking, was particularly influential on later artists. Paintings of elegantly dressed couples in the latest fashion, often with underlying themes such as love or the five senses, were commonly painted by Hieronymous Francken the Younger, Louis de Caulery, Simon de Vos, David Teniers the Younger and David Rijckaert.
Lot 87
BRUEGHEL family; Second half of the sixteenth century."Landscape."Oil on oak panel. CradledPresents frame following ancient models.Measures: 36 x 18 cm; 70 x 54 cm (frame).With a relatively high horizon, where the sky composed by a gradation of blue tonalities, hardly occupies space, the author, grants the protagonism of the scene to the landscape. A costumbrist view conceived through successive planes. In the center of the scene, two figures hold a conversation. However, their small dimensions indicate the artist's interest in capturing the landscape. By theme and style it is very close to the painting developed by the important dynasty of Dutch painters, the Brueghels. The meticulous and expressive drawing characterizing the characters and their vivid behaviors is combined with a freer brushstroke in the representation of the landscape, also splendid, working in different levels of depth, assuming bluish tones in the horizon.During the 17th century, the Flemish school experienced great splendor and artistic development. The strategic location of the area, and the presence of one of the most important ports of the time, gave rise to the proliferation of a new social class, composed of merchants, who possessed a large capita. This new society enjoyed the advantages of their economic position, however, they did not have the aristocratic titles, so they began a race for social position through culture. In addition, due to the rupture with Rome and the iconoclastic tendency of the reformed Church, paintings with religious themes ended up being eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone, in accordance with the new society. Thus, portraits, landscapes and animals, still life and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals of almost all classes and social strata: The tandem formed by Peter Paul Rubens and Jan Brueghel the Elder, the one composed by Hendrick van Balen and Jan Brueghel de Velours, or the one comprising the figures of Jan Brueghel the Younger and Pieter Van Avont, are proof of the success of this type of contributions in 17th century Flanders.
Lot 92
Flemish school; XVI century."Saint Jerome".Oil on panel.Requires cleaning and has restoration band on the back.Measures: 64 x 48 cm.In this work the artist reveals an exceptional sense of drawing through which he has described the anatomy of the saint, showing great precision. Especially achieved in the anatomical capture that is revealed through thin but defined muscles, which give a glimpse of the saint's life as a hermit. His anatomy presents a certain elongation of the forms, which makes the hands stand out in particular, rotund, but at the same time defined and refined. The face also reveals this technical care, which is determined by the treatment of the wrinkles and bags that can be seen under the saint's expressive eyes. The detail with which the hair has been painted stands out, and each hair that forms part of the beard can be seen. This shows the artist's interest in capturing an almost microscopic reality. This prominence of details and qualities is a characteristic feature of the Flemish school. This statement added to the hieratism and rotundity of the figure, invite us to think of aesthetic compositions close to the painter Ambrosius Benson (Region of Lombardy?, ca. 1490-1500 - Bruges, January 1550), whose Saint Jerome in the collection of the Mayer van den Bergh Museum in Antwerp, has great similarities with this work. In both pieces the saint is immersed in a rocky interior, which opens slightly to the landscape in the upper left area. Located in the center of the composition, St. Jerome, dressed in a grayish tunic that reveals his torso, holds a cross with the body of Christ in his hands. It is at this point where the two works differ since, in the painting of the museum, the saint only holds the cross. Finally, the work is completed with the iconographic attributes typical of St. Jerome, such as the lion and the skull. Ambrosius Benson was one of the so-called masters of the tradition, successor of Van der Goes, and showed the influence of Van Eyck, Van der Weyden and the Flemish primitives in general. However, in his work we can appreciate features already typical of the 16th century, coming from Italy, such as the triangular composition that we see in this work. Originally from Lombardy, more Italian features can be appreciated in his painting. As we can see in this workshop work, especially important was his personal use of color, with a predominance of maroon tones in contrast to the whites and light tones of the flesh tones, which are thus very highlighted in the composition. Also typical of his work is the velvety quality of the cloaks. Benson was a painter of religious subjects and portraits, and trained with Gerard David in Bruges from 1518, the year he became a citizen there.The representation of St. Jerome has been one of the most represented subjects in the art world. Whether as a penitent or as a sage, the saint's biography has served to connect with the faithful and transmit the values of the Church. Saint Jerome was born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician, as well as a polyglot. Baptized at the age of nineteen, between 375 and 378 he retired to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. The accumulation of books and parchments next to the saint alludes to the saint's translation of the Bible into Latin, which was considered the only official translation since the Council of Trent. The theme of St. Jerome hearing the trumpet of the Last Judgment would become fashionable in Counter-Reformation Europe, and would gradually impose itself, displacing the previous interpretations of the saint as a sage or as a penitent.
Lot 96
Circle of ANTON VAN DYCK (Antwerp, 1599-London, 1641)."Portrait of Charles I of England."Oil on canvas. Relined.Size: 71 x 61,5 cm.On a neutral background is defined the royal portrait of the monarch Charles I of England. Sober in the composition and the chromatic range used by the author, since on the portrayed only stands out the indigo band that hangs under the great ruff, which indicates his belonging to the order of the Jarreta. With broad shoulders and an elongated face, the author presents us with a psychological portrait where austerity and authority come together. The monarch fixes his gaze on the viewer, in an unperturbed and imperturbable way, thus transmitting all his power. The work is somewhat reminiscent of the "triple portrait of Charles I", painted by Van Dyck in 1635, and kept in the collection of the Prado Museum in Madrid. This portrait was painted with the intention of sending it to Rome, so that Bernini could create a bust.Anton van Dyck, key painter of the Flemish Baroque and one of the most important portraitists of the 17th century. Anton Van Dyck began his training with Van Balen, a Romanist painter, in 1609. In 1615-16 he worked with Jordaens, and between 1617 and 1620 with Rubens, who said that he was his best pupil. In 1620 he visited England for the first time, in the service of James I, when he was only twenty-one years old. In London he enjoyed greater freedom and left aside religious painting to devote himself fully to portraiture. Between 1621 and 1627 he completed his training with a trip to Italy, being particularly impressed by Bolognese painting and the works of Titian. It was in Italy where he achieved his mature, refined and elegant style, as well as configuring his type of portrait, which became a model for Western painting. In Italy his fame as a portraitist was also established, and he enjoyed immediate success wherever he worked, painting portraits of the most important noble families of Italy, as well as the Pope and various members of the Roman Curia. In 1629 he was again in London, this time working for King Charles I, who admired Titian's work and saw in Van Dyck his heir. Thus, he dismissed all his painters, having found in Van Dyck the court painter he had wanted for years. In 1640, on the death of Rubens, the painter returned to Antwerp to finish the works he had left unfinished. The following year he moved to Paris, where he painted the wedding portrait of King William II and Princess Mary. That same year he returned hastily to London for health reasons, dying shortly thereafter at his home in the English capital. Anton Van Dyck is represented in major museums around the world, such as the Louvre, the Prado, the Kunsthistorisches in Vienna, the National Gallery and the British Museum in London, the Hermitage in St. Petersburg and the Metropolitan in New York.
Lot 73
Ɵ ADAMS, Ansel. (1902 - 1984). Ansel Adams Presentation copies, two first editions, 1950 - 1977. comprises: AUSTIN, Mary Hunter. (1868 - 1934). The Land of Little Rain. Presentation copy. Houghton Mifflin Company, Boston. The Riverside Press, Cambridge, 1950. first edition, 4to., (260 x 210mm), publisher's yellow cloth, orange lettering to front and spine, dustwrapper unclipped, map illustrated e/ps., INSCRIBED and dated by Ansel Adams to half-title, 'for / Bardura Beach Thompson / Ansel Adams / Nov. 1950', introduction by Carl Van Doren, text by Mary Austin, 48 photographic illustrations after Ansel Adams, 133pp: ADAMS, Ansel. (1902 - 1974). and SZARKOWSKI, John. (1925 - 2007). The Portfolios of Ansel Adams. Seven Portfolios from 1948. Ansel Adams Presentation copy. New York Graphic Society, Boston, (1977). first edition, 4to., (290 x 240mm), first printing as stated, publisher's light grey cloth, black lettering to front and spine, dustwrapper unclipped, black e/ps., INSCRIBED and dated by Ansel Adams to half title, 'Inscribed For / Del Zogg / Greetings! / Ansel Adams / Carmel / 11-10-77.', introduction by John Szarkowski, 12 full-page b/w. photographic illustrations, each a limited edition of ten-sixteen prints, text from the original portfolios, including a memorable essay by Beaumont and Nancy Newhall in Portfolio VI., 124pp: both volumes within removeable clear wrapper. (2) Condition Report: 1. The Land of Little Rain - minor marks to boards, corners scuffed, spine bumped head/tail, dustwrapper with wear (mostly to corners) o/w. a clean copy. 2. The Portfolios of Ansel Adams. Seven Portfolios from 1948 - some light marks to board edges, foxing to edges, toning to cream dustwrapper, o/w. a clean copy. Condition Report Disclaimer
Lot 560
walnut, with chequered beaded inlay and single drop-in leaf158cm closed, 99cm deep, 77cm high, 234cm extendedProvenance: From The Millinery Works Collection.Footnote: Provenance: Arthur Mitchell; thence by descent.Note: Arthur Mitchell, whose father Henry founded the Smethwick brewery that would become Mitchells & Butlers, was a great patron of Cotswolds School craftsmen. Peter van der Waals was the foreman and chief cabinet maker for Ernest Gimson at Daneway, Cirencester and opened his own workshop in 1920 at Chalford, near Stroud. With this table, Waals is adapting the chamfered 'hayrake' stretcher, first developed by Gimson and Sidney Barnsley at Sapperton in the early years of the 20th century.
Lot 254
Irving (W), RIP VAN WINKLE, first thus, illustrated by Arthur Rackham, green cloth boards, embossed gilt title and illustration to cover, applied colour plate frontispiece, illustrated title page, the text set to the first fifty seven pages, the remaining green pages with fifty one applied colour plates, each with tissue protector, William Heinemann, London 1905
![° [Claesz Ten Hoorn, Jan] De Beroerte en Afvl van Messina ...engraved pictorial and printed titles, 5 plates (4 folded), con](https://cdn.globalauctionplatform.com/d824c333-8502-4c45-b4b8-adb9009de2ac/cbbfd80d-a106-4d39-93ec-adb900a17fff/468x382.jpg)
Lot 31
° 20th Century Biographies:-Bruccoli: Raymond Chandler, 1979Bruccoli: Scott Fitzgerald, 1987Schwartz: Hart Crane, 1972Edelstein: Wallace Stevens, 1973Myerson: Emily Dickinson, 1984Borst: H.D. Thoreau, 1982Hanneman: Ernest Hemingway, 1967Shifreen: Henry Miller, 1993Sanborn: Eugene O’Neill, 1931McNeil: Gary Snyder, 1983Cunningham: Carl Van Vechten, 1924Gotham Book Mart: Tennessee Williams catalogue, 1983Knoll: Robert McAlmon, 1959Charters: Jack Kerouac, 1975Crane: Robert Frost, 1974Todd: Tauchnitz International Editions, 1988
Lot 5
° Van Vogt, Alfred Elton - Seven works - Slan, 1st edition, with unclipped d/j, Sauk City, 1946; The Book of Ptath, 1st edition with unclipped d/j, Fantasy Press, 1947; The World of A, 1st edition with unclipped d/j, Simon and Schuster, New York, 1948; Masters of Time, 1st edition, with unclipped d/j, Fantasy Press, 1950; The Voyage of Space Beagle, 1st edition, with unclipped d/j, Simon and Schuster, New York, 1950; The Mixed Men, 1st edition, with unclipped d/j, Gnome Press, 1952 and - Away and Beyond, 1st edition with unclipped d/j, Pellegrini and Cudahy, New York, 1952
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