Rothschild Tazza: a 19th century French hardstone, gold, silver-gilt and enamelled figural tazzasigned Morel et Cie, Rue Neuve St Augustin, Paris, circa 1842-48The circular chalcedony dish with a handle modelled as a kneeling fairy with enamelled wings, highlights and curling ribbon strapwork holding a armorial shield with the Rothschild arms, two further putti mounts, the stem formed as two nymphs sitting back to back against an elaborate green translucent enamelled palm tree, separated by two shields each enamelled an L and an R entwined with a banner motto: 'Concordia, Integritas, Industria,' on a carved rock crystal cushion with enamelled spreading foot, with script L in enamel underneath, height 14.4cm.Footnotes:Jean-Valentin Morel (1794-1860) was the son of the Parisian lapidary Valentin Morel. Starting his apprenticeship in his father's workshop, he transferred to that of the gold box maker Adrien Vachette. He began working on his own account in 1827, choosing the same initials for his mark as his master: M V. In 1842, he set up a partnership with architect Henri Duponchel to form Morel et Cie in Rue Neuve St Augustin. Morel was able to expand his enterprise and is said at this time to have employed some eighty craftsmen, including lapidaries, enamellers and goldsmiths. Controversially, he used gold, gilt and damascening on his artworks.In 1848, the partnership was dissolved in a bitter lawsuit and Morel was barred from working in the Department of the Seine. He moved his business to London where he had considerable success at the Great Exhibition of 1851. It could be said that his career culminated in the magnificent Hope Cup, shown at the 1855 Exposition Universelle in Paris.The L and R on the shields suggest a connection to Baron Lionel Nathan de Rothschild (1808 – 1879), a banker, politician and philanthropist. He became the first practising Jew to sit as a Member of Parliament in the House of Commons of the United Kingdom. Lionel's brother, Sir Anthony Nathan de Rothschild, (1810 – 1876) is associated with an important agate cup and cover by Morel from the late 1830's, see Sotheby's, 10 May 2016, ex lot 6. Perhaps the present lot was a gift from Anthony to Lionel on the occasion of the birth of his son, Leopold, in 1845.For further information on this lot please visit Bonhams.com
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After Lord Frederic Leighton (British, 1830-1896): A patinated bronze figure of 'The Sluggard'Possibly cast by the Morris foundry at the time of its amalgamation with the J.W. Singer foundry, circa 1927 or thereafterThe nude male stretching, on integral square base, entitled 'THE SLUGGARD' and with facsimile signature Fred. Leighton to the rear corner, the reverse with raised cast letter and number M 1st mark, 53cm high overallFootnotes:ProvenanceBy family repute thought to have been acquired by the vendor's Grandfather when working as a foundryman at the Morris Singer Foundry in Lambeth, London, possibly prior to the Second World War. Thence by family descent. Although perhaps better known as a fashionable Royal Academy painter of the late 19th century, Leighton took up sculpture in the 1870s and today is regarded as the father of New Sculpture in England. Leighton's Sluggard, also known as 'Athlete Awakening from Sleeping', was first executed in 1882. The Italian model Giuseppe Valona who had posed for 'An Athlete Struggling with a Python' was again used by Leighton to pose for 'The Sluggard'. Although firstly modelled in clay, a more refined life-size plaster was later exhibited at the Royal Academy in 1886 and this was awarded a medal of honour when it was shown at the Paris Exposition Universelle three years later. A bronze cast of this plaster, acquired by Henry Tate in 1896, is now in the Tate Gallery. The work later became the basis for one of the most popular Victorian statuettes when reduced-scale bronze editions were made by Arthur Leslie Collie and cast by the Singer Foundry.As the base of the cast to the offered lot lacks both the Arthur Leslie Collie edition and the J. W. Singer foundry marks, this suggests that it was cast on or after the time that the Singer foundry of Frome, Somerset and the Morris Art Bronze Foundry of Lambeth amalgamated in 1927 to create the Morris Singer Foundry. This may also explain the M and 1st raised marks to the rear of the base, with a possible hypothesis being that the M may represent the first letter of the Morris name with the 1st being an indication of an experimental or early test cast at the London branch of the foundry. Related LiteratureS. Beattie, Minneapolis Institute of Arts, cat. nos.39 and 59, p.189 and p.260.S. Jones, C. Newall, et al., Frederic, Lord Leighton: Eminent Victorian Artist, Royal Academy of Arts, 1996.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 pair of George III cream painted, polychrome decorated and parcel gilt open armchairs attributed to George Brookshaw (1751-1823)Circa 1780Each with an oval medallion back comprised of a copper panel painted with a ribbon tied assortment of flowers, encompassed by six interspersed acanthus carved bars each centred by a flowerhead, within a ribbon wrapped reeded surround surmounted by an interlaced ribbon tie cresting, with ribbon and stiff leaf wrapped reeded arms and fluted baluster form terminals, on conforming ring turned front legs terminating in peg feet, with splayed rear legs, each approximately: 60cm wide x 53cm deep x 98.5cm high, (23 1/2in wide x 20 1/2in deep x 38 1/2in high) (2)Footnotes:ProvenanceThe offered lot was almost certainly formerly with Lord Roundway where it was housed in the Cabinet Room, Roundway House, Wiltshire.Thereafter it would have belonged to Marjorie Wiggin Prescott, Belle Haven, Greenwich, Connecticut, U.S.A.The present armchairs originally formed part of a set of four dating to circa 1780. One example from this group is illustrated in C.C. Stevens and S. Whittington, 18th Century English Furniture, The Norman Adams Collection, 1989, Woodbridge, pp.'s 66-67. Reference therein is drawn by Stevens and Whittington both to the clear influence of the Louis XVI style in the design of these English chairs as well as to the excellent quality of the painted decoration in the execution of the flowers on the oval copper panels of the backs. An identical one to the offered model, probably also forming part of this exact same set, appears in L. Wood, The Upholstered Furniture in the Lady Lever Art Gallery, Vol. II, fig.'s 400-401, p. 400. Interestingly, Wood posits therein that such chairs are undoubtedly the work of the cabinet maker George Brookshaw and hence by extension it seems logical to attach this attribution to the above. The authors, Stevens and Whittington, instead previously put forward the hypothesis that this floral painting was probably completed by the same artist - Angelica Kauffmann - who decorated a pair of display cabinets or bookcases, circa 1775, one of which features in M. Jourdain and F. Rose, English Furniture, The Georgian Period (1750-1830), 1953, London, pl.'s 12 & 13, pp.'s 49-50. However this would now seem to be a defunct point of view since Wood has clearly undertaken much more recent and arguably more extensive research in this area. Another chair, most likely from the same set, is illustrated in C. Musgrave, Adam and Hepplewhite and other Neo-Classical Furniture, 1966, London, fig. 72. Whilst a suite of painted and parcel gilt seat furniture, which is in the Lady Lever Art Gallery, Port Sunlight, in Merseyside, has some similar characteristics. In particular, as Stevens and Whittington note: '...the armchairs and ends of the settee having oval backs moulded with ribbon tied 'fasces' reeding and vase-shaped splats painted with classical scenes and similar flower sprays to the current example.' One armchair from this comparable group is in R. Edwards, The Dictionary of English Furniture, Vol I., revised edition, 2000, New York, pl. XVI.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 George III mahogany, goncalo alves crossbanded, sycamore and fruitwood marquetry linen pressCirca 1775, almost certainly made by a cabinet maker operating either on or near St. Martin's Lane in LondonWith shaded inlay and stringing, the swan neck pediment with a reverse ogee moulded cornice and rosette inlaid terminals, inlaid with a pair of Neoclassical urns flanking a central oval patera, above a flute inlaid frieze interspersed with circular fan medallions, over a pair of quarter segmented and oval moulded panelled doors inlaid with quartered rosette angles, enclosing five cedar, mahogany and oak lined slides, with two short and two long graduated oak lined drawers below, on shaped bracket feet, 127cm wide x 61.5cm deep x 218cm high, (50in wide x 24in deep x 85 1/2in high)Footnotes:A couple of the constructional characteristics of the offered lot suggest that it was made by one of the renowned cabinet makers located either on, or just alongside, the historic St. Martin's Lane in London during the latter half of the 18th century. These include the presence of a thin red wash on some of the secondary timbers - which was believed to have assisted in the prevention of wood worm infestation - and the use of concave quarter-fillets in the construction of both the drawers and the slides.Certain cabinet makers operating at the highest level of the business during the 18th century were based either on St. Martin's Lane, or in a couple of cases just off this historic London road. All of these workshops, including those run by renowned figures such as William Vile, John Cobb, William and John Linnell and of course arguably most importantly, Thomas Chippendale, produced pieces of the finest quality and in the most fashionable styles of the time. Typically, this meant that their output employed ingenious methods of construction. One such method was the use of concave quarter-fillets to serve as strengthening for the drawers in case furniture. Some examples which utilise this constructional feature include the pair of lacquer commodes, either by or attributable to John Cobb, from St Giles' House, Dorset - sold by the Earl of Shaftesbury, Christie's, London, 11 November 1999, lot 100 - and a padouk commode sold anonymously, Christie's, London, 30 November 2000, lot 134. A further related serpentine chest attributed to Thomas Chippendale which employs this method and includes 'S-pattern' key holes, sold anonymously, Christie's, London, 25 November 2004, lot 79.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 Dutch late 18th century ormolu mounted kingwood, satinwood, amaranth, tulipwood and fruitwood marquetry secretaire à abattant attributed to Matthijs Horrix (1735-1809)Of unusually small size, the grey marble rectangular top with moulded edge above a veneered dental mounted frieze and a floral inlaid fall enclosing a fitted interior of four drawers, a central cupboard, with a further drawer and an open compartment, the base fitted with three drawers, flanked by angled corners mounted with columns, the sides inlaid with ribbon tied musical trophies with a guilloche border to the base on faceted tapering legs inlaid with trailing bellflowers, 81.5cm wide x 44.5cm deep x 109.5cm high, (32in wide x 17.5in deep x 43in high)Footnotes:ProvenanceThe present lot was formerly with Pieter Hoogendijk Antiquairs, Baarn, 1996.From the collection of the late Cornelis Paulus van Pauwvliet.ExhibitedPieter Hoogendijk Antiquairs, PAN Amsterdam, 1996.LiteratureAnnigje Hofstede, Nederlandse Meubelen: Van Barok Tot Biedermeier, 1700-1830, 2004, fig. 303, p. 181.Matthijs Horrix (1735-1819) was the foremost cabinetmaker in Holland during the second half of the eighteenth century. Born in Germany near the Dutch border, he was admitted to the furniture makers' guild in The Hague in 1764 and straightaway set out upon a brilliant career. He quickly became the principal supplier of veneered furniture to the stadholder, Prince William V of Orange, who in 1767 married Princess Wilhelmine of Prussia, and to the aristocratic clients that converged onto The Hague, the city where the court, the government and the embassies were established. But his workshop, which soon became the largest in the city and which, unusually, he extended to encompass chair-making and upholstery in the manner of the great London furniture firms, also worked for less exalted clients. Horrix was all but unique in acquiring fame throughout the seven United Provinces that together constituted the Dutch Republic: when clients in faraway towns wished to obtain a truly exquisite piece of furniture, they turned to Horrix. Nothing is known about Horrix's training, but it may be assumed that he spent time as a journeyman in Paris, where of course many of the leading ébénistes were of German origin. When Horrix named his shop in The Hague 'In the commode of Paris', this was most likely intended to keep the memory of an apprenticeship in the French capital alive, as well as highlighting his principal speciality. All over Europe, a floral marquetry commode in the Parisian style became the fashionable piece of furniture par excellence in the early 1760s, and Horrix was undoubtedly the main exponent of this trend in The Hague. For the marriage of the stadholder in 1767, Horrix was commissioned to deliver considerable quantities of marquetry furniture, doubtless all in the latest French manner. Right until William V and his family were forced to flee to England because of the French invasion in 1795, he remained their principal cabinet maker. Princess Wilhelmine, who mentions him in several of her letters, had a special predilection for his work. She ordered many fine pieces for her private apartments and actively influenced stylistic decisions: for example, in 1780 she supplied Horrix with Japanese lacquer panels to set into commodes. Marquetry furniture inlaid with Chinese or Japanese lacquer is a staple of late eighteenth-century Dutch furniture, and Wilhelmine may have played an important role in fostering this taste. In 1790-1791 Horrix provided the panelling, inset with Chinese lacquer, and all the lacquer-mounted furniture for the new Audience Chamber in Huis ten Bosch, the stadholder's palace outside The Hague, which is now the principal residence of King Willem Alexander and Queen Máxima.It wasn't until the 1990s that part of Horrix's work was identified. Although the French invaders sold nearly all of the stadholder's collections after 1795, a few marquetry commodes in the Dutch royal collection were recognized as being part of his deliveries from the late 1760s. Comparison with these rare items led to further attributions, and a stylistic development could be traced that culminates in the lacquer-mounted room at Huis ten Bosch. Cees Paulus van Pauwvliet was deeply interested in this development, and became very keen to own some of Horrix's work. The large and bulbous Louis XV commodes that are typical of the cabinetmaker's early production seem not to have caught his fancy, or may simply have been too big for his apartment. Instead, he acquired a fine group of two marquetry commodes including the present lot of a small secretaire in the Louis XVI manner. These can be securely attributed to Horrix because of close stylistic affinities with documented pieces. Inevitably, there is now a trend to attribute any fine piece of Dutch marquetry furniture to Horrix, especially when it is inlaid with lacquer panels. However, Paulus van Pauwvliet went for the best; typically, he was so interested in the whole issue that he also bought a marquetry secretaire in the French manner that clearly is not by Horrix, but by an anonymous, perhaps slightly less gifted Dutch maker (lot 54).On Matthijs Horrix and his work, see Reinier Baarsen, 'In de commode tot Parijs tot Den Haag', Matthijs Horrix (1735-1809), een meubelmaker in Den Haag in de tweede helft van de achttiende eeuw, Oud Holland 107 (1993), pp.'s 161-255.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 Dutch 18th century ormolu mounted mahogany, rosewood, amaranth, burr walnut, fruitwood and stained sycamore marquetry secretaire à abattantCirca 1770The grey marble top above a hinged fall inlaid with a balustrade and a canopy flanked by swags above classical vases, urns and jugs enclosing a fitted interior of six serpentine drawers with scale inlay and open compartments, the base fitted with a cupboard door inlaid with an autumnal tree, swags and classical urns, enclosing a fitted drawer, flanked by canted sides surmounted by ram's head cast ormolu mounts, the sides inlaid with classical urns, 88cm wide x 46cm deep x 138cm high, (34 1/2in wide x 18in deep x 54in high)Footnotes:ProvenanceFrom the collection of the late Cornelis Paulus van Pauwvliet.Pieter Hoogendijk Antiquairs, Baarn, where purchased probably 1993.ExhibitedPieter Hoogendijk, Les Antiquaires Au Grand Palais, XVI Biennale Internationale, Paris, 18 Sept - 4 Oct 1993.LiteratureR. J. Baarsen, 'Le Goût Français' in Dutch Furniture in the Second Half of the Eighteenth Century, TEFAF catalogue, 1991, p. 153.Annigje Hofstede, Nederlandse meubelen: Van Barok Tot Biedermeier 1700-1830, 2004, fig. 297, p. 179.This Dutch secretaire à abattant, with its classical and large scale French-style ram's head garlanded corner ormolu chute mounts and elaborate marquetry with contrasting veneers and engraved motifs, is reminiscent of the much en vogue furniture designed and manufactured 'in the French manner'. This was first advertised in Holland by Dutch cabinet maker Andries Bongen (1732-1792) in December 1766. French Neoclassical furniture by ébénistes such as Charles Topino, maître in 1773, who inlaid furniture with marquetry panels of vases and vessels popularised by designs from Vases Nouveau published by Maurice Jacques (1712-1784), was all the rage in France, England and Holland. In particular, the 1771 ban on the importation of French furniture into the Netherlands created a thriving market in which Dutch cabinet makers could create pieces in the French taste. Alongside Andries Bongen, other important Dutch makers included Arnoldus Gerritsen and Joan Lobst Swenebart. (R.J. Baarsen, Andries Bongen (ca. 1732-1792) en de Franse invloed op de Amsterdamse kastenmakerij in de 2de helft van de achttiende eeuw Oud Holland 107 (1993), pp.'s 42-43 and note 154.This lot is subject to the following lot symbols: * TP Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A large 19th century Rococo revival carved beech marginal pier mirror1840-1870, possibly North EuropeanWith a later central oval plate and shaped subsidiary plates, with channelled foliate C- and S-scroll, rocaille, shell, cabochon and acanthus carved frames and surrounds, surmounted by an asymmetrical foliate C-scroll and rocaille carved cresting, restored and with a strengthening backing evidently later applied to the reverse, approximately: 229cm high x 129.5cm wide.Footnotes:ProvenanceThe present lot was purchased as 'An 18th century carved wood Chippendale mirror frame, circa 1765', from Richard Grose Ltd., 9 September 1960.On this invoice from 1960 it states that the offered mirror was previously with 'Messrs. Rixson of Dunstable', who were evidently well known antique dealers themselves during that period. It is also suggested in this paperwork that Messrs. Rixson claimed that this mirror was 'believed to recently have come from Blenheim Palace', although neither the veracity nor accuracy of this statement can be substantiated through any additional documentation.A further letter addressed from Richard Grose Ltd shows that the mirror underwent some restoration work immediately prior to its delivery to the buyer. Both documents are available to view online.The offered lot shares a number of affinities with some German designs for mirrors dating to the period, 1745-c.1760. Indeed, a few loosely related mirror drawings, each with a similar asymmetrical cresting to the above example, appear illustrated in Kreisel/Himmelheber, Die Kunst des Deutschen Mobels, Spatbarock und Rokoko, 1983, Munich, fig.'s 537, 538, 744 and 745.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 pair of George III giltwood open armchairs attributed to John Linnell (1729-1796)1770-1775, both chairs requiring re-upholsteryEach with a cartouche shaped back carved with a husk-trail surround surmounted by an interlaced bow-tied ribbon cresting, with foliate wrapped and patera roundel capped arms above downswept husk pendant carved terminals, over a serpentine fluted seat frame flanked by rosette angles, on drapery swagged fluted tapering front legs, with splayed fluted tapering rear legs, terminating in block feet, one chair numbered: '7', the other with a label inscribed: '90/200', the rails with 'cramp cuts' and period nail heads visible, also with slight remnants of what appears to be some of the original packing thread, each approximately: 62cm wide x 60cm deep x 90cm high, (24in wide x 23 1/2in deep x 35in high) (2)Footnotes:The offered armchairs appear closely related to a suite comprising various chairs and sofas which date to the period 1770-1775 and are attributed to the celebrated London cabinet maker John Linnell. Some of this important group of seat furniture is illustrated in H. Hayward and P. Kirkham, William and John Linnell, 1980, New York, fig.'s 84-85, p. 44. In fact some of the chairs from this set form part of the Victoria and Albert Museum. The attribution is largely due to the fact that this aforementioned seat furniture, including the above pair of chairs, has a number of characteristics in common with Linnell designs executed between circa 1768 and 1770. These shared elements include the overall form and ornamentation of such pieces, discussed therein by the authors, Ibid, fig.'s 79 & 83, pp.'s 42-43. The Linnell drawings are also of particular interest and significance since they are comparable to a design for a chair produced by J.C. Delafosse, Ibid, fig. 80, thus showing the strong influence of French output in this area then. Indeed, more specifically, the carved drapery swags appearing to the tops of the legs on this Linnell seat furniture seem to be a direct reference to some contemporary Louis XVI pieces. These swags also appear in the form of ormolu mounts on examples known, or recorded, to have been made by Linnell and can be seen most notably in this guise on various games tables. This latter work was provided by Linnell for Alnwick Castle upon behalf of the Duke of Northumberland, as well as for comparable pieces supplied to Kedleston Hall for Viscount Scarsdale, op. cit., pp.'s 141-143. Furthermore, the pronounced fluting on the seat frames and the distinctive husk carving recurs in a very similar way throughout much of Linnell's marquetry designs for larger furniture at that time.A virtually identical pair of John Linnell armchairs to the present lot, albeit of slightly larger proportions, sold Christie's, London, 8 February 2024, Philip Hewat-Jaboor: An Eye for the Magnificent, lot 70. Another pair of this same model sold Christie's, New York, 8 April 2004, Important English Furniture, lot 290 whilst a single example sold Christie's, New York, 7 October 2015, Living with Art, lot 153.A set of four armchairs of practically the same type sold Phillips, London, 8 October 1996, lot 86. This may be the same group that was sold Christie's, London, 6 July 1962, lot 128. Another similar pair of chairs sold Christie's, London, 10 April 1986, lot 34. A further related pair, albeit with turned feet, was offered, the Property of a Lady, Christie's, London, 26 June 1986, lot 75.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 third quarter 19th century French carved white marble bust of a BacchanteIn the manner of Jean-Baptise Clésinger (French, 1814-1883)The bare breasted maiden looking to dexter, her parted hair arranged in a loose curling chignon dressed with trailing fruiting garlands, raised on waisted square socle base, 76cm high, 50cm wide, 28cm deep, the square socle base, 21.5cm wide x 21.5cm deepFootnotes:For a comparable bust depicting Flora, thought to possibly be 'La Femme à la Rose' circa 1865 or 'Les Rose', circa 1870, as listed in S. Lami's Dictionnaire des sculpteurs de l'école française, vol. 1, Paris, 1916, pp. 401-402, see Sotheby's London, 10 July 2019, lot 20.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 pair of Regency brass mounted rosewood and brass inlaid writing tables or bonheur du joursCirca 1820, in the manner of John McLeanEach with line-inlaid tablets, the superstructure comprising a pierced interlaced gothic arched three quarter galleried upper tier above a three quarter screen of pierced geometric fretwork, interspersed by five engine turned and spiral reeded turned columns, the lower tier with two short mahogany lined drawers, the stand with a beaded moulded edge, over one long mahogany lined frieze drawer inlaid with a central stylised foliate motif, on simulated rosewood ring turned tapering legs each mounted with an egg and dart moulded collar, terminating in brass cappings and castors, 83cm wide x 44cm deep x 117cm high, (32 1/2in wide x 17in deep x 46in high) (2)Footnotes:A number of elements which constitute the present writing tables are redolent of the output of John McLean and Son during the early 19th century. These include; the use of rosewood combined with brass mounts and also often brass inlay; their size, proportions, overall design and configuration; the distinctive brass trellis work and columns to the upper tier; and the staggered use of applied ring turnings to the tapering legs. A very similar bonheur du jour to those comprising the offered lot, albeit perhaps one arguably over enthusiastically directly attributed to McLean, sold Sotheby's, New York, 11 October 2012, Fine European Furniture, lot 406. Other related versions include a table sold Christie's, London, 13 November 1997, lot 93 and one sold Sotheby's, New York, Tom Devenish: The Collection, 24 April 2008, lot 176.Another notable comparable is a McLean-labelled cheveret or small writing table which is illustrated in S. Redburn, 'John McLean and Son', Furniture History, 1978, Vol. XIV, pl. 40A. This appears to be the closest overall to the above, certainly in terms of documented or labelled McLean pieces. However, further models which share various characteristics typical of McLean also feature in the same article, Ibid, pl.'s 38A, 38B, 39A and 39B.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A set of four George III 'Gothick' mahogany open armchairsAfter a design by Thomas Chippendale and after designs by Robert Manwaring, with restorationsEach with a square back and channelled pointed arched toprail centred by a boss, above a vertical splat comprised of four pointed cusped arches with pierced shaped trefoil-form spandrels, with curved, scrolled shaped arms and roundel headed octagonal form cappings, on square section legs with scrolled foliate ears, on splayed rear legs, upholstered with associated gros and petit-point needlework seats depicting various pastoral scenes, signs of re-railing, each approximately: 62.5cm wide x 56cm deep x 91cm high, (24 1/2in wide x 22in deep x 35 1/2in high) (4)Footnotes:As with the previous lot, the precursor for this type of 'Gothick' chair is one that was supplied in 1754 to Horace Walpole and installed at his castellated extravaganza, Strawberry Hill, in Twickenham.A design for an armchair with a closely comparable multiple interlaced cusped arched and trefoil pierced splat to those on the chairs comprising the present lot appears in the third edition of Thomas Chippendale's renowned The Gentleman and Cabinet-Maker's Director, pl. XVII, 1762. This seminal work was reproduced by Dover Publications, Inc., 1966, New York. Chippendale notes therein that such a 'Gothick Back' chair would be suitable for 'Halls, Passages or Summerhouses'. Whilst this same drawing is replicated in C. Gilbert, The Life and Work of Thomas Chippendale, Vol. I, 1978, London, fig. 138, p. 85. Three similar designs were also originally illustrated in the second edition of Genteel Household Furniture in the Present Taste, published circa 1765 upon behalf of 'A Society of Upholsterers', pl.'s 2, 14 and 15. These engravings were executed by Robert Manwaring and then subsequently formed part of a 1766 publication by Sayer called The Chair-Maker's Guide. All three are also reproduced in Pictorial Dictionary of British 18th Century Furniture Design, compiled by E. White, 2000, Woodbridge, pp.'s 69 and 72.The general outline or overall form of the back on each of the offered chairs seems closest to the Manwaring design for what he referred to as a 'Parlour chair', featuring in Genteel Household Furniture in the Present Taste, pl. 2. However, in terms of the cusped pointed arched or arcaded splat, the inspiration and influence for this was possibly more likely taken from the two other Manwaring designs, Ibid, pl.'s 14 and 15, both of which are much more akin to the above examples than the former.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 George IV gothic revival rosewood, brass inlaid and parcel gilt library table1825-1830, possibly originally provided for Eaton Hall, in Cheshire, upon behalf of the Grosvenor familyThe top with a reverse ogee moulded edge above a frieze inlaid with scrolled honeysuckle and stylised foliage interspersed with quatrefoils, on two vertical end supports, each comprised of a multiple cusped arched X-frame with oak-leaf clasped crockets intersected by a central blind pointed arched panelled stile, each stile with a central tied bundle of wheat sheaves carved in relief within a shield shaped cartouche, terminating in four oak-leaf wrapped crocketed feet and recessed castors, the stretcher is a later replacement, 185cm wide x 91cm deep x 77.5cm high, (72 1/2in wide x 35 1/2in deep x 30 1/2in high)Footnotes:The single tied wheat sheaf (set in this instance within a shield shaped surround), which appears proudly emblazoned to the centre of each opposing end support on the offered lot, has been historically emblematic of the Grosvenor family. Unfortunately, though, there is no way of being certain that the present library table was originally made for a member of the Grosvenors, nor is there any documentation to directly prove this association.However, the exuberant gothic revival style of this piece appears highly redolent of much of the furniture and furnishings provided for Eaton Hall, following its large scale redesign and reconstruction by William Porden (c.1755-1822) in the period 1803-1813, and also slightly later on during the following decade. The extensive gothicising was completed before the end of the 1820s upon behalf of Robert Grosvenor, who was, at the time this work began, the 2nd Earl Grosvenor but who would later become the 1st Marquess of Westminster. This project was enacted due to the fact that the former estate had been in dire need of renovation and was in the then unfashionable high Baroque style.In the contemporary opinion of some, the ebullience of this gothic revival architecture, and more specifically its interiors, appeared to border upon extravagance. And, in the case of a Mrs Arbuthnot, it went even further than this, as she describes the inside of Eaton Hall in the following way in 1826: '...the most gaudy concern I ever saw. It looks like the new bought and new built place of a rich manufacturer... the house decorated with a degree of gorgeousness that is quite fatiguing and takes away all appearance of real grandeur.' See F. Collard, Regency Furniture, 1985, Woodbridge, pp.'s 172 and 182.It is important to note that the renowned firm of Gillows are recorded as supplying Eaton Hall with this type of gothic revival furniture, often to designs executed by William Porden. This happened in particular over the course of 1820-1830, once the vast majority of the re-building had been finished. Indeed, an impressive gothic style bergere attributed to Gillows, circa 1825, sold Bonhams, Knightsbridge, 7 and 8 February 2023, The Connoisseur's Library Sale, lot 77. The furnishings at Eaton Hall are further discussed in C. Payne, British Furniture, 1820 to 1920: The Luxury Market, 2023, ACC Art Books, pp.'s 52-53.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A Chinese export 18th century reverse painted mirrorthe mirror Qing dynasty with signs of refreshment to the decoration in some places, the frame possibly George III periodDecorated with a pheasant perched upon a rocky outcrop and clawing at a toad, with a dragonfly and a tree amidst a florid and riverside rural landscape with buildings in the background and mountains in the distance, within a foliate C- and S-scroll, floral and pomegranate carved surround, 101cm high x 49.5cm wide.Footnotes:A similar reverse painted mirror to the offered lot, likewise dating to the late 18th century, sold Christie's, New York, 19 October 2023, The Collection of Ann and Gordon Getty, lot 61. Other related examples which have sold at auction include one at Christie's, New York, 9 May 2018, The Collection of Peggy and David Rockefeller, lot 212, as well as an impressive pair which sold Christie's, New York, 23 October 2022, The Anne and Gordon Getty Collection: Volume 4, lot 605. Another model sold Christie's, London, 23 May 2012, The English Collector, lot 261.A further comparable, one from a pair dating to the Qianlong period, circa 1760, appears illustrated in G. Child, World Mirrors, 1650-1900, 1990, London, fig. 820, p. 379.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 Regency ormolu mounted rosewood and parcel gilt secretaire cabinet/chiffonier attributed to John McLean (1770-1825)Circa 1810Inlaid with boxwood stringing, the two-tier superstructure comprising a pierced arched three quarter galleried top with eight ring and engine turned columns flanking pierced geometric fretwork sides, the panelled back inset with four mirror glass panes, above a projecting top mounted with reeded edging, over a twin stiff leaf moulded panelled secretaire drawer, each panel mounted with a twin lion mask ring-hung floral festoon and central large lion mask ring handle, the mahogany lined secretaire drawer enclosing eight pigeon holes, three cedar lined drawers and a leather inset surface, flanked by two volute scrolled, drapery wrapped, foliate pendant cast herm mounts each with elaborate feathered headdress, with a pair of oval panel mounted doors below, enclosing two adjustable shelves, flanked by lotus leaf moulded panelled angles each inset with a lion mask ring-hung floral pendant mount, on lobed ring turned toupie feet, 94cm wide x 40cm deep x 147cm high, (37in wide x 15 1/2in deep x 57 1/2in high)Footnotes:The offered lot, with its combination of fine ormolu mounts, parcel gilt enrichments and rosewood case work, is highly typical of the output of the cabinet making enterprise, John McLean and Son. This renowned firm, which was active during the period 1770-1815, had locations at both Little Newport Street and Upper Marylebone Street, both in London.The form of the present piece has its roots in a design for a galleried and mirror-backed 'Lady's Secretary', with similar upper tiers intended for the storage and display of books and decorative objects, which first appears in Thomas Sheraton's 'Drawing Book', originally published between 1791 and 1794, pl. XLI. However, although it is not stamped, signed or labelled, the above cabinet is undoubtedly attributable to John McLean due to its elegant amalgamation of Grecian and Egyptian design elements with late 18th/early 19th century trends within French furniture - all hallmarks of this particular maker. The overall configuration and toupie feet seem to be characteristics inspired by the Louis XVI output of the previous generation. Whilst, despite the fact John McLean advertised that his company specialised in the production of 'Elegant Parisian Furniture', there is a distinct English restraint overall which is noticeable throughout all of his oeuvre. A near identical chiffonier, likewise attributed to McLean, sold Christie's, London, 20 November 2008, Dealing in Excellence; A Collection of Hotspur and Jeremy, lot 119, whilst another of this type sold Sotheby's, New York, 24 April 2008, Tom Devenish: The Collection, Highly Important English Furniture, lot 173. Further models include a very similar one with rectangular re-entrant panelled doors combined with lion paw feet, which sold Sotheby's, New York, 24 April 2008, Tom Devenish: The Collection, lot 174. This same secretaire then subsequently sold Christie's, New York, 8 October 2015, Living with Art, lot 158.A very close comparable, albeit with rectangular re-entrant panelling to its doors and a McLean label to the interior, forms part of the Victoria and Albert Museum. This appears in Georgian Furniture, Victoria and Albert Museum, revised and edited by D. FitzGerald, 1969, London, fig. 140 and the maker's label it is applied with can be dated to the period 1805-1815. Two other related examples are illustrated in C. Gilbert, Pictorial Dictionary of Marked London Furniture, 1700-1840, 1996, Leeds, fig.'s 592 and 596,pp.'s 313 & 315. The first with similar oval panels to the present lot but different giltwood reeded columns, has a McLean label from the same period as the former, whilst the second bears one from the marginally earlier years of 1799-1805. Two additional versions feature in S. Redburn, 'John McLean and Son', Furniture History, 1978, pl. 33A and G. Beard and J. Goodison, English Furniture, 1500-1840, 1987, Oxford, fig. 8, p. 269.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
An Empire ormolu mounted mahogany semainierCirca 1805, feasibly by Bernard MolitorThe marble top above one long oak lined frieze drawer mounted with a pair of opposing griffins with scrolled foliate-terminating tails and holding a ribboned quiver of arrows flanking a central lyre surmounted by a crescent moon emblematic of Diana, with star mounted angles, over five long oak lined drawers, each drawer with twin acanthus, rosette and scrolled foliate embellished swan-form handle mounts with scrolled swan neck pulls, flanked by classical maiden bust-headed herm tapering square section columns, on a plinth base with a central Diana mask mount flanked by stylised foliate, scrolled and palmette adornments, with flowerhead angles, on large bun feet and rear stile supports, each of the lower five drawers with a central escutcheon comprised of twin opposing swans with a central ribbon tied floral wreath pendant, each side mounted with a long sword within its scabbard, 124cm wide x 49cm deep x 144cm high, (48 1/2in wide x 19in deep x 56 1/2in high)Footnotes:ProvenanceThe present lot was acquired, most likely during the late 1990s or early 2000s, by the current owner and vendor from Mallett at Bourdon House, 2 Davies Street, London. Upon its purchase, Mallett had described it as an Empire semainier attributed to Bernard Molitor, circa 1810. A Mallett colour photograph, along with a letter detailing their description of this piece, is available to view upon request.Several documented pieces made by the renowned French cabinet maker Bernard Molitor during the period 1799-1810 share a couple of characteristics in common with the offered Empire semainier. Arguably, the most distinctive element appearing on a number of similar contemporary Molitor secretaire a abattant, semainier and secretaire en cabinet examples is the classical female herm bust-headed and square tapering column which often serves as the angles for this type of case furniture, as can be seen on the above. However, more specifically, a virtually identical elegant model of twin opposing swan-form escutcheon to those featuring on the present lot are also used as the same keyhole mounts for a few such recorded pieces produced by Molitor that are illustrated in U. Leben, Molitor, Ebeniste from the Ancien Regime to the Bourbon Restoration, 1992, London, fig.'s 17, 138 and 148, pp.'s 30, 133 and 148. Further closely comparable ormolu mounts to those of the offered semainier, including the elongated sword mounted to each side, exist on these examples, as well as on other Molitor furniture. The latter also appearing therein, Ibid, fig.'s 18, 55, 76, 77, 83, 84, 87, 88 and 140, pp.'s 31, 69, 88, 89, 93, 95, 96 and 134.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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
Henry Bone R.A. (1755-1834)Thomas Howard, 2nd Earl of Arundel (1585-1646), wearing black doublet and white ruff, seated before an embroidered curtain in a red chair, his right hand holding a paper, his left hand clasping the jewel of the Lesser George, the badge of the Garter, which is suspended from the blue ribbon of the Order around his neck. Enamel on copper, signed on the obverse, HBone, signed, dated and inscribed in full on the reverse, Thos Howard Earl of Arundel/ London/ April 1827/ Painted by Henry Bone RA/ Enamel painter to His Majesty &/ To His (late) RH the Duke of York/ &c &c after Van Dyke in the Marquis/ of Stafford's Collection Cleveland House/ London, gilded composition frame with scrolling acunthus leaf mouldings, the inner mount hinged and accompanied by a key. Rectangular, 191mm (7 1/2in) highProvenance:The Estate of Mrs. Charles W. Englehard, Christie's New York, 18 March, 2005, lot 132;The Twinight CollectionFootnotes:Thomas Howard, 2nd Earl of Arundel was prominent during the reigns of James I and Charles I and noted for his art collections of marbles and manuscripts. In 1604, he was restored to his father's Earldom of Arundel and to the Baronies of his grandfather, Thomas, 4th Duke of Norfolk. His fortunes fluctuated under James I and Charles I; he held many high offices and was more than once imprisoned. He is best remembered for his patronage of the arts and for his magnificent collections. These were dispersed after his death, most of the marbles and statues being given to Oxford University in 1667 to become known later as the Arundel (or Oxford) marbles. The library was given to the Royal Society and to the College of Heralds, the manuscript portion of the Royal Society's moiety being transferred to the British Museum in 1831 forming the present Arundel Collection.The present lot derives from Sir Anthony Van Dyck's portrait of the Earl painted circa 1620/1 and now in the J. Paul Getty Museum (86.PA.532). Bone's squared drawing for his enamel is in the Collection of the National Portrait Gallery, no. NPG D17392 (catalogued as Thomas Howard, 14th Earl of Arundel) bears the inscription Earl of Arundel for Earl Suffolk. Vandcyk/ June 1801/ In the Collection of Lord Gower.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare pair of Berlin double-handled beakers from the Duke of Wellington Service, circa 1817Each with a burnished gold ground and interior, reserved with a tooled foliate scrollwork border below the rim and painted leaves at the base, the inside rim with a tooled foliate border, 7.7cm high, sceptre marks in underglaze-blue. impressed 18 to both (2)Footnotes:Provenance:The Twinight Collection (purchased from Seidel & Son in 2005)Literature:S. Wittwer, Raffinesse & Eleganz: Königliche Porzellane des frühen 19. Jahrhunderts aus der Twinight Collection, New York (2007), no. 132Exhibited:Berlin, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Schloss Charlottenburg, Rafinesse & Eleganz - Königliche Porzellane des frühen 19. Jahrhunders aus einer amerikanischen Privatsammlung, 28 July-4 November 2007;Vienna, Liechtenstein Museum, Die Sammlung Cohen. Porzellane der grossen Manufakturen 1800-1840, 16 November 2007-11 February 2008;Paris, Musée national de la céramique à Sèvres, Sèvres - Vienne - Berlin, Ors et décors : 1800-1850, 26 March-13 July 2008;New York, Metropolitan Museum of Art, Refinement & Elegance - Early Nineteenth Century Royal porcelain from an American private collection, 9 September 2008-19 April 2009The service for the Duke of Wellington represents one of the greatest technical and artistic achievements of the Berlin manufactory in the first half of the 19th century. See W. & I. Baer, Das Tafelservice der KPM für den Herzog von Wellington (1988), for a comprehensive discussion of the service, most of which is still displayed at Apsley House in London. The service included 36 such golden beakers, which were intended for jelly or ice; see W. & I. Baer, op. cit., ill. 46 for other examples.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
CARROLL (L), FOR THE TRAIN, FIVE POEMS AND A TALE; limited edition, 78/100 signed by Hugh Schonfield, Denis Archer, 1932; WILLIAMS (S), A BIOGRAPHY OF THE WRITINGS OF LEWIS CARROLL, limited edition, 666/700, London, The Bookmakers Journal, 1924; DE LA MARE (W), THE SUNKEN GARDEN, limited edition, 92/270, The Beaumont Press, binding executed by Sangorski and Sutcliffe, 1917; BATES (H.E.), THE HOUSE WITH THE APRICOT, limited edition, 235/300, The Golden Cockerel Press, 1933; NEWTON (A), forward, PRIME PICKWICKS IN PARTS, limited edition, 64/400, signed, printed in the U.S.A, 1928 (5)
Collection of The Beatles Posters including Quarrymen taken by Mike McCartney in 1958 at aunty Gin`s house - 31.5 x 235 inches. Beatles pre Ringo posing by a Ford Anglia taken by Mike. 31.5 x 23.5 - French Promo poster for the Oldies by the Goldies compilation from 1966 23.5 x 16 inches. 1970 poster showing them at the `Our World event - 37.5 x 24.5 inches. 1969 poster of Paul McCartney 39 x 29 plus Richard Avedon advertising poster and others. ( total 7 posters )
FLEETWOOD MAC & PETER GREEN - Large vinyl collection / LP records Including the following Fleetwood Mac 1968 7-63200Blue Horizon/ CBS Stereo / Mr Wonderful 1968 7-63205 Blue Horizon Stereo - UK press - Laminated Gatefold (printed and made by Ernest J. Day & Co. Ltd,. London. W.11) - Tracks A2 and B5 are reversed on sleeve, as above on label. Rare original vinyl / Then Play On 1969 RSLP 9000 Stereo, Gatefold - UK press - Original release with tri-coloured Reprise Steamboat label and gatefold sleeve. A Fleetwood Mac Production - Distributed by Pye Records Ltd - Rare original vinyl / English Rose 1969/1973 P 11651 Colombia US / English Rose 196922025CBS 2 x lp set / The Pious Bird of Good Omen 1969 7-63215Blue Horizon/ CBS US press - Manufactured and distributed by CBS - Sleeve printed by Quality Stationery Ltd, London, E.C.1. / The Original 1971/1976 22025CBS Gatefold UK / Kiln House 1970 RS 6408 - RSLP 1004 Reprise Records/Warner Santa Maria Pressing, Gatefold US / Future Games 1971 K44153 UK / Future Games 1971 K44153 German/ Greatest Hits1971 69011 CBS Stereo, Gatefold / Bare Trees 1972 K44181Reprise Records/Warner UK / Penguin 1973 MS 2138 Reprise G/F USA / Mystery To Me 1973 REP 54 119 German / Mystery To Me 1973 REP 54 119 German gatefold sleeve / Heroes Are Hard to Find 1974K54026Warner UK Label has not the ""w"" Warner Communication logo on rim as later versions have. - Shorepak by Shorewood Packaging Co. Ltd. England / Vintage Years - the history of…1975 22122CBS Gatefold UK / Fleetwood Mac 1975/1978 K54043Reprise Records/Warne Limited Edition, Reissue, White UK press - Track A3: on sleeve, writer credit is mentioned as ""Curtis"" but on record itself as ""M. & R. Curtis""/ Rumours 1977WB 56 344 Textured Sleeve German / Rumours x 2 / Sin City (live in the Aladdin Theatre for the performing arts)1977 None Ruthless Rhymes Unofficial Release - German press/release RARE / Japanese live 1978 FCPA 1038Warner Bros Record Japanese version / Man of the World 1978 83110CBS uk / Tusk 1979 K66088 Embossed Sleeve 2x vinyl UK press raised/embossed bitey dog photo on front cover, different label typeface/layout than Tusk, e.g. position of catalogue numbers and the stereo tag / live Ivory 1980 VD-801001 Vinyl Dreams / LIVE 1980 WB 66097 Gatefold - 2xlp German Issued in a gatefold / Mirage 1982WB K 56 952Warner Belgian / Cerulean 1985 SMB 85/86Music Boxlp / 2x vinyls - Greece press / Live In Boston 1984 941.683 German/ Live In Boston 1984 HAI 107 Music Galore Ltd / Tango in the Night 1987 925 471-1 Stereo GERMAN / family Man 1987 920857-0Warner Bros 12 inch / As Long As You Follow 1988 921 125- 12 / Big Love 1987 PRO-A--2688Warner Bros PROMO / Isn't It Midnight / Mystified/ Say You Love Me/ Gypsy1975/1988920 961-0Warner Bros MAXI 12 / Seven Wonders (extended version)19870-20746MAXI 12 / The Collection 1987 CCSLP 157 Castle / Behind the Mask 1990 WX 225/ The Blues Years1991 ESBLP 138 5xLPS / Peter Green's Fleetwood Mac - Live at The Marquee 1992 RRLP 157 UK / Greatest Hits 1990 WX 221 - 925 801-1 / Looking Back On 1989 SHM 3268Pickwick UK / The Fleetwood Mac story (band interviews)1990 Unistar Transcription, Stereo - 2x LP- Unistar Radio Programming / London Live '68 1986THBL 1.038 Magnum Music Group uk / Westwood One Radio Networks 'studio live recording'1987 OTR 87-29Westwood One Radio Networks LP, Promo, Transcription - 2xlp / Westwood One Radio Networks 'studio live recording'1987OTR 87-29Westwood One Radio Networks Promo, Transcription - 2x vinyls - Copy 2 / How It All Came To Be 1978 TAKRL 922The Amazing Kornyfone Record Label / The Best of Fleetwood Mac 1973 REP 44138 / Manalishi 'live'198739008 west Germany / Live 1984 BR LP 16CT stereo / Rattlesnake Shake 'live'1986LP 39006 stereo / Black Magic Woman 1980 S CBS 31798CBS / Albatross - Christine Perfect197731569CBS / Europa album 1979 111 411.5 / Live USA - Live & Alive 1990 880.007IMTRAT German / Black Magic Woman 197 1EG 30632 CBS US / Black Magic Woman (3 LP-set)19859043/3 Platinum Box Set, Album - 3 × Vinyl, LP West Germany PETER GREEN COLLECTION - The End of The Game 1970 RSLP 9006 / In the Skies 19796.23793 / In the Skies 1979 PVLS 101PVK Records Limited Edition, Green vinyl UK / Little Dreamer 1980 PVLS 102PVK UK / Whatcha Gonna Do? 1981 PET1PVK / Blue Guitar 1981 CRX 5 Blue vinyl / White Sky 1982 6.25 155- White labels, white-on-black / Kolors 1983 6.25691 / Legend 1988 CRX12 / Backtrackin'1989 TRKLP 101Castle LP, Compilation - 2x vinyls - UK press" total of 64 and 2 box sets.
Mixed decorative ceramics and glassware to include Royal Worcester figure 'June' no. 2906, modelled by Sybil V. Williams, and Jessamine. S. Bray, height 10cm, a Crown Devon 599 preserve pot in the form of a mushroom house, height 11cm, various Carlton Ware to include preserve jar, cutlery, leaf-shaped dishes, a tomato salt and pepper, egg cups and square plate, a Wedgwood jasperware biscuit barrel with plated rim, handle and lid, height 24cm, a glass paperweight and small dish decorated with cased bubbles, etc.
Vintage Duck House Jadzia Porcelain Heirloom Doll in blue dress with parasol. This item has its original box which measures: 7.25"L x 4.5"W x 19.5". Certificate of Authenticity included. This item has an adjustable base included 9"H. Issued: 1980's to 1990'sDimensions: 6.5"L x 4"W x 18"HEdition Number: 57 of 15000Condition: Age related wear.
THE BEATLES CLUB HOUSE: Fab Four collection of LP's and 45's to include Parlophone PMC1202, LP, 'Please Please Me', Parlophone PMC 1206, LP, 'With The Beatles', 7' flexi discs, LYN 757, The Beatles' Christmas record, in sleeve with Newsletter number 4, 1964, LYN 492, The Beatles Christmas record, in NewsLetter number 2, 1963. Along with 6 Parlophone 45's R4949 'Love Me Do' 1962, R5015 'From Me To You' 1963, R5055 'She Loves You' 1963, R5084 'I Want To Hold Your Hand' 1963, R4983 ' Please Please Me' 1963, R5114 'Can't Buy Me Love' 1964 (10)Provenance: private collection Gwynedd
THE MARITIME / MARINE / NAVAL CLUB HOUSE: TWO EARLY 20TH CENTURY SHIPS WHEELS, comprising smaller wheel marked 'S. S. Alwin Formerly Rapid & C.7. Built 1902 Acquired 1922 Converted Sand Sucker Jan 1924 Length 90, Beam 24, Commenced Dredging Liverpool Oct 1950 Broken Up Connahs Quay July 1960', 60cms diameter, together with larger example, unmarked, 69cms diameter (2)Provenance: deceased estate CarmarthenshireComments: wear overall commensurate with age, viewing recommended
THE WRISTWATCH CLUB HOUSE: VINTAGE VULCAIN 'CRICKET' GENTS ALARM WATCH, stainless steel and gold plated, the dial with Arabic numerals at 3, 6, 9 and 12, 'V' stamped crown, 33mm case, circa 1960's, numbered to case back 305004, later leather strapProvenance: private collection CarmarthenshireComments: ticking, alarm sounded, not tested long term, wear commensurate with age
THE MOTORCYCLING CLUB HOUSE: 1970's CUSTOMISED HARLEY-DAVIDSON XL1000 IRONHEAD SPORTSTER MOTORCYCLE, JRU 852N, DVLA registered, first UK registration March 1991, customised/modified as pictured, engine number 3A11367H5, donates 1975 model, 50,363 miles unverified, a few small spares includedProvenance: deceased estate NewportComments: V5c and keys present, last MOT expired September 2017, untested however the bike does roll and brake, we have made no attempt to start the bike, non-professional orange metalflake bodywork, viewing recommended (by appointment)
THE MARITIME / MARINE / NAVAL CLUB HOUSE: U.S. MARITIME COMMISSION BAKELITE BULKHEAD CLOCK by Seth Thomas, numbered to dial 30552, circa 1940's, 20cms diameterProvenance: deceased estate CarmarthenshireAuctioneer's Note: The United States Maritime Commission (MARCOM) was an independent executive agency of the U.S. federal government that was created by the Merchant Marine Act of 1936 and abolished in 1950Comments: wear overall commensurate with age, case wear, viewing recommended
THE POP & ROCK CLUB HOUSE: CIRCA 1960S VINYL being a poptastic collection of 1960's singles including The Rolling Stones, DFE 8590 ' Five By Five' 1964, F11675, 'Come On' 1963 , Elvis Presley RCA pressings, 45-RCS 1227 'Surrender' 1961, 45-RCA 1280 'Anything That's Part of You' 1962, 45-RCA 1303 ' She's Not You' 1962, 45-RCA 1420 ' Return To Sender' 1962, RCA 1355 'You're The Devil In Disguise' 1963, alone with 45's from Gene Pitney, The Big Three, Frankie Lane, Buddy Holly, Cilla Black, Chuck Berry etc (57 approx.)Provenance: private collection GwyneddComments: untested, sleeves creased, discoloured, hand writing present on sleeves (indexing), some personalised labels on disks, viewing advised
THE ROCK & POP CLUB HOUSE: PINK FLOYD PIPERS AT THE GATES OF DAWN POSTER being late 60's (designed) psychedelic-art poster promoting the first record by Pink Floyd in 1967, unknown artist, 73 x 48cmsProvenance: private collections PowysComments: some foxing, ripples and creasing but generally very good, framed, glazed, ready to hang
THE MARITIME / MARINE / NAVAL CLUB HOUSE: FIVE SIMILAR COPPER SHIPS LAMPS comprising a pair marked 'Port' and 'Starboard' above an anchor initialled 'S L', one stamped 'Imperial Light Ltd 1917', another by H. Hughes & Son Ltd marked 'Starboard', another by A. T. Chamberlain & Co marked 'Masthead', and one by The Boats Fittings Co of Bristol (5)Provenance: deceased estate CarmarthenshireComments: wear overall, some losses, dents etc, viewing recommended
Claire Bloom signed black and white photo 10x8 Inch. An English actress. She is known for leading roles in plays such as A Streetcar Named Desire, A Doll s House, and Long Day s Journey into Night, and has starred in nearly sixty films. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
1991 Jaguar XJ-S V12Registration number H948 LWKChassis number SAJJNAEW3BM176477Engine number 8S080264SGGreen with a magnolia interiorRecently re-commissioned at a cost of £7,873.96Low ownership and low mileageMOT expires April 2025Originally registered to Jaguar Cars, Company Vehicles, it was equipped with all the (few) optional accessories, including over-carpets, contrasting seat piping, and a boot linerAfter 1,100 miles, and a month of life, it was sold to a Mr Blake of BeckenhamHe owned it for just over a decade, adding 29,000 miles and 17 main dealer stamps to its historyIt was then acquired in 2002 our vendor and registered to his partnerUnder their ownership the mileage increased to its current level of c51,600, with a continuing history of Jaguar and other classic specialists’ careWith original owners’ handbook and supplementary documentation, its stamped service history, original tax discs from 2002 to 2015, and a plethora of supporting documentsOnly for sale due to a house moveA new V5C (superceeding the one on file) has arrived, V5, spare keys. most MOT certificatesDriven to the auction, it has developed a blowing exhaustAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsThis lot must be collected by 12.30pm on Friday 28th June. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £80 + VAT, unless otherwise noted. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
Maggs Bros. Ltd. Bibliotheca Incunabulorum, Catalogue 656 (comprising 419 lots of incunabula), contemporary half roan, spine worn, 1938; Bookbinding in the British Isles Sixteenth to the Twentieth Century, Catalogue 1075, 2 vol. in 1, inscribed to JC by Bryan Maggs and Robert Harding, bound in cloth, by Bernard Middleton, morocco label, original upper wrappers bound in at end, 1987; Bookbinding in the British Isles Sixteenth to the Twentieth Century, Catalogue 1212, 2 vol. in 1, inscribed to JC by Bryan Maggs, Robert Harding & Edward Bayntun Coward, bound in half black morocco, by Christopher Shaw, red morocco label, original upper wrappers & trial wrappers bound in at end, 1996; The Max Newman Collection of Alan Turing’s Offprints, number 11 of only 12 bound copies, original cloth reproducing Turing’s signature on upper cover, 2007 § Views of some of the rooms in the House of Maggs Brothers London & Paris, original printed wrappers, printed by Emery Walker, 1927 § Cabral (Clara Macedo) The Last King of Portugal and Maggs: An Anglo-Portuguese Alliance, one of 400 copies, inscribed by the author to John & Alison Collins, original pictorial boards, 2015, illustrations; and a small quantity of others relating to Maggs, mostly catalogues, many on bookbinding, some bound, some ephemera, 4to & 8vo (sm.qty)
Art & Architecture.- Sánchez-Jáuregui (M.D.) & Scott Wilcox. The English Prize: The Capture of the Westmorland, An Episode of the Grand Tour, New Haven and London, 2012 § Morel (Dr. Thierrry) & others. Houghton Revisited: The Walpole Masterpieces from Catherine the Great's Hermitage, 2013 § Thornton (Peter) Authentic Decor: The Domestic Interior 1620-1920, 1985 § Girouard (Mark) Life in the French Country House, 2000 § Harris (John) Moving Rooms: The Trade in Architectural Salvage, signed by the author on title, New Haven & London, 2007 § Ingrams (R.) & John Piper. Piper's Places: John Piper in England & Wales, with 2 A.PCs.s. from John Piper to Robert Gathorne-Hardy loosely inserted "I am in throes of a new War art job, but situation is becoming easier. God preserve you from V.1, V.2, & other Vs" and "I remember all about the window, but wd like another look - & at you!" dated 1944 & 1968 respectively, 1983, illustrations, many colour, original cloth or boards with dust-jackets; and c.45 others, mostly architecture, some pamphlets/catalogues, 4to & 8vo (c.50)
Henry VIII (1509-1547), Posthumous coinage, Groat, Durham House, mm. bow, bust 6, crescents in forks, square pellet stops on obv., saltires on rev., 2.28g/4h (Whitton p. 310, pl. xix, 16; N 1873; S 2405). Many details clear, good fine or better for this very rare issue £400-£500 --- Provenance: SNC March 1988 (1186). Struck for a few months between December 1548 and October 1549
Lego Legoland 1980's sets x 4 Lego Legoland 1980's sets x 4 including set no 6372 Town House, Near Mint complete, within Good (surface tare) opened box, no instructions, set no 6360 Weekend Cottage, Near Mint complete, within Excellent opened box, includes instructions, set no 6682 Cement Truck, Near Mint complete, within Excellent opened box, includes instructions and set no 6697 Rescue Helicopter, Near Mint complete, within Good opened box, includes instructions. (4)
Dresden - Deutschland - England 19. Jh. a) Dresden mit Blick auf die Schlosskirche und die Elbe mit der Augustusbrücke. Kol. Stahlstich v. S. Davenport, publ. by Th. Kelly, London. Ca. 10,5×17 cm. b) Fünf Stadtansichten mit Burgen und Ruinen: Goslar, Walkenried/Harz, Schloss Richmond bei Braunschweig, Hohenstein u. Bacharach als kol. Stahlstiche. Ca. 10×15 bis 11×17 cm. c) Drei englische Stadtansichten als kol. Stahlstiche. Ca. 8,5×14,5 bis 11×17 cm. Dazu: "Somerset House" - Meeting of the Royal Antiquarian Society (1842). Stahlstich. 14×19 cm. (60821)
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 2 Pounds, 2014. Royal Mint. Proof. Commemorating the 500th Anniversary of Trinity House, formed by Royal Charter under King Henry VIII in 1514.Fourth crowned bust of Elizabeth II within beaded circle facing right; ELIZABETH · II · DEI · GRA · REG · FID · DEF ·. Design by Ian Rank-Broadley. / The beacon of a lighthouse shining out to left and right, anniversary dates '1514' and '2014' to either side, 'TRINITY HOUSE' above, 'TWO POUNDS' below. Design by Joe Whitlock Blundell and David Eccles. Edge milled and inscribed (incuse lettering); SERVING THE MARINER. Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded PCGS PR70 DCAM, certification number 41448876. PCGS population in this grade: 1, single finest graded.Reference: S-K33 (was 4734); KM-1313Mintage: 279.Diameter: 28.4 mm.Thickness: 2.5 mm.Weight: 15.9761 g. (AGW=0.4711 oz.)Composition: 917/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Holborn Cloth Exchange, Colston & Co., a skit note denominated 73, ND (c.1830’s), serial number 73, advertising ‘Colston & Co.s Establishment for Woollen Cloths, Cassimeres, Buckskins, Petershams, Pilots, Fancy Waistcoatings, &c.&c. Stands unrivalled for being the Cheapest House in England, signature of W. Colston, stamp hinges on reverse, good fine and rare Outing unlisted £100-£150 --- The Holborn Cloth Exchange appears in newspapers between 1836 and 1842. It was owned and run by William Colston (1797-1878), whose family also entered the same trade and were active all over London for several generations.
Harold Storey (1888-1965) A collection of watercolours and etchings of Scottish landscapes around the artist's home in Newton Mearns, Renfrewshire, most signed and some titled to verso, dates range 1913-1957, (total 15). Notes: artist's titles include - The Garden of the Red Lion Inn looking towards the Kirk, with a photograph of Nina Allen attached verso, dated 1913, the daughter of the house. A later note dated 1941 records that The Red Lion Inn has been long demolished and the family gone. Other inscriptions record 'Anne Gill looking at doll in Mary ____'s shop, next to the artist's house at 25 Main St, Newton Mearns, April 1957', also 'Just a Minute, scene at corner of Main St of Barrhead Road, Newton Mearns, March 1959' and ' The hidden brook in the leafy month of June, the burn at Capelrig, Newton Mearns' amongt others. Provenance: The Artist, thence by descent
A Set of six C20th gilt-framed giclée prints on canvas "Views of Chinese social life", from the originals now in National Trust Claydon House, each 67.5 x 100cm, in good condition. PROVENANCE: To the vendor’s knowledge these are the only authorised copies of the originals which are now on display in Claydon House. The originals were gifted to the National Trust in the 1990’s; they are thought to be late 17th or early 18th Century and were acquired by Sir Noel Charles KCMG, MC, the vendor’s great-uncle and a British diplomat, later ambassador in Rome, when on a posting in the Far East in 1927.
CONRAD JOSEPH: (1857-1924) Polish-British novelist. A fine A.L.S., J. Conrad, two pages, oblong 8vo, Capel House, Orlestone, near Ashford, 7th February 1911, to Arthur Symons (´My dear Symons´). Conrad writes a kind and supportive letter to his friend, at times demonstrating his self-deprecating wit, commencing ´I understand you are all alone for a few days so I drop you this note en camarade for companys sake, tho´ indeed I have nothing memorable and nothing new to say. I wish I could invent something amusing, but I feel too stupid just now to try. Moreover to be amusing is not in my line. That´s why the public fights shy of my writing I suppose´ and continuing ´I was glad to see you were more alert, more hopeful and altogether better this time. I expect many fine things from you in the future. My days of fine things are done I fear, still one must go on. At any rate I must´. Conrad also refers to a recent visit by Agnes Tobin whose ´passage under our roof left a delightful scent of intelligence and charm of a finely humane quality´ and concludes in a reflective manner, ´It´s late. I am tired after a day of uphill toil. Now it is always up hill with me. And the worst is that one doesn´t seem any nearer the top when the day is done´. A charming letter of wonderful content and associations. VGArthur Symons (1865-1945) British poet, critic, translator and magazine editor. Symons suffered a psychotic breakdown in late 1908 and published very little new work over the next twenty years. In 1925 Symons published the essay Notes on Joseph Conrad with some Unpublished Letters.Agnes Tobin (1864.1939) American poet and translator who spent periods of her career in London and Paris. Conrad dedicated his novel Under Western Eyes (published in the same year as the present letter), to Tobin ´who brought to our door her genius for friendship from the uttermost shores of the West´.
SMITH JAMES EDWARD: (1759-1828) English botanist, founder of the Linnean Society. A.L.S., J E Smith, one page, 8vo, n.p., n.d. (´Tuesday´), to William Jackson Hooker (´My dear Sir´). Smith commences his letter stating ´I am very glad to hear that one university in Scot[lan]d has any independance or honesty, & congratulate you with all my heart, if it be worth your having´ and further expresses his desire to see Hooker that morning, although advising the sooner the better ´as I must go to my poor Mother´s house some time this morng.´ With integral address leaf in Smith´s hand and bearing the remnants of a small black wax seal. Some light, minimal age wear and a couple of small, neat tears and creases to the edges. About VGWilliam Jackson Hooker (1785-1865) English botanist and botanical illustrator, the first full time director of the Royal Botanic Gardens at Kew from 1841. Hooker had previously been appointed as the regius professor of botany in the University of Glasgow in February 1820.
WAUGH AUBERON: (1939-2001) English journalist and novelist, son of Evelyn Waugh. A brief T.L.S., Auberon Waugh, one page, 8vo, Combe Florey, Taunton, Somerset, 29th March 1977, to Stephen Brook, on the attractive printed stationery of Combe Florey House. Waugh thanks Brook for their letter and remarks ´I am sorry to tell you that the Connolly book is already well accounted for´. With a carbon typed copy of Brook´s letter to Waugh, expressing his interest and intrigue in his book on Cyril Connolly, stapled to the upper left corner. Together with V. S. Pritchett (1900-1997) British writer and literary critic. A.L.S., Victor Pritchett, one page, 8vo, Regents Park Terrace, London, 14th July 1979, to [Stephen] Brook, thanking him for his invitation to write about Graham Greene although remarking ´I am, alas, too busy to undertake more work. I wonder if Walter Allen would do it? He knows the subject well´. With one staple to the upper left corner. VG, 2Stephen Brook (1947- ) English author and wine journalist, a former editor of The Atlantic Monthly Magazine and publisher at Routledge, Kegan & Paul from 1976-80.
DALI GALA: (1894-1982) Russian artist´s model and muse, the wife of Paul Eluard and later of Salvador Dali. A rare A.L.S., Gala Eluard, to the verso of a decorative colour postcard with a pink perforated deckled edge and a quaint image of swallows flying over a country river applied to the centre, n.p. (Paris), n.d. (14th November 1930), to Valentine Hugo (´Chere Madame´), in French. Gala states that they very much regretted Hugo´s indisposition and her cancellation of Wednesday´s meeting, further remarking ´Voulez-vous me prevenir par un mot quel soir pourez vous venir diner chez moi (7 rue Becquerel) a partir du lundi prochain´ (Translation: ´Please let me know in writing which evening you can come to dinner at my house (7 rue Becquerel) from next Monday´) and concludes by sending ´Les amities de Dali´ (Translation: ´Best regards from Dali´). Accompanied by the original envelope hand addressed by Gala. A wonderful letter of good association which also links Gala with the two most important men in her life, Eluard and Dali. Some very light, extremely minor age wear, VGValentine Hugo (1887-1968) French artist and writer associated with the French Surrealists. Valentine was the wife of French artist Jean-Victor Hugo (1894-1984), the great-grandson of novelist Victor Hugo.Gala´s letter is written at a very significant time in her life. Gala and the French poet Paul Eluard (1895-1952) had first met and fallen in love at the age of seventeen and were married a few years later in 1917. With Eluard, Gala became involved in the Surrealist movement and was an inspiration for many artists. In August 1929 Gala and Eluard travelled to Spain to meet the emerging Surrealist artist Salvador Dali. An affair quickly developed between Gala and Dali which soon led to the break-up of Gala´s marriage with Eluard (although the two would remain close). Gala married Dali in 1934, having lived together since 1929. The present letter, signed Gala Eluard, was written just over a year after Gala first met Dali, for whom she sends regards to Hugo.
MACDONALD JAMES RAMSAY: (1866-1937) British Prime Minister 1924, 1929-35. An excellent T.L.S., J. Ramsay MacDonald, two pages, 4to, The Hillocks, Lossiemouth (although on the printed stationery of the Prime Minister, 10 Downing Street, Whitehall), 30th December 1931, to Ernest J. Titler of the Shaftesbury Advertising Agency Ltd., marked Private & Confidential. MacDonald states ´The paragraphs that have been appearing in the newspapers, especially in the "Daily Herald", that I am trying to go back to the Labour Party, and have appointed emissaries to make soundings, are rather embarrassing and untrue. They have been repeated, however, in a tone which indicates that the writers have got something in their minds´, and continues ´If I were clear of my immediate burdens I should show them that in spite of their excommunications I am a member of the Labour movement, and would defy them and all their caucuses to turn me out of it. But what I should do would be to try to get the movement back to its proper position, and rescue it from being a glorified board of guardians´, before concluding ´The Labour Party has been misled, and is being kept misinformed by two of the most disreputable papers now published, the Herald and Reynolds. That is what I want to rectify in the interests of the whole movement´. Accompanied by the original envelope. A letter of fine political content. Together with a second, earlier T.L.S., J. Ramsay MacDonald, one page, 4to, 10 Downing Street, Whitehall, 11th March 1931, also to Ernest J. Titler, on the printed stationery of the Prime Minister. MacDonald states that he has received the programme for Titler´s concert, and wishes that he could attend, however explaining ´....the House of Commons will be sitting that evening and Government business taken, and no doubt there will be Divisions. I am afraid it would be impossible for me to leave the ship in those circumstances.....´. Also including Ishbel MacDonald (1903-1982) eldest daughter of Ramsay MacDonald and the hostess of 10 Downing Street during her father´s time in office. A.L.S., Ishbel, one page, 4to, Upper Frognal Lodge, Hampstead, London, 17th November 1937, to Ernest [Titler], on black bordered mourning stationery. Writing shortly after the death of her father, MacDonald thanks her correspondent for their kind letter and messages of sympathy and continues ´If you and your mother or father would like to go to the Abbey get in touch with Alister [her brother].....or just chance it. The Abbey will be open to the public´, accompanied by a second A.L.S.. Ishbel, two pages, 4to, Upper Frognal Lodge, Hampstead, London, 19th November 1937, also to Titler and on black bordered mourning stationery, stating that she had written her previous letter too soon and explaining ´Since making our first list we have been told that it is too long, and we have had to cut it right down to little more than relatives. The National Labour executive is being asked with official people, and everyone else has to take their chance. The greater part of the Abbey will be unreserved seats, so you are not cut out, but you will see that it is not possible for us to reserve seats......I am terribly sorry.....Do forgive me´. Accompanied by the original envelope. Further including an interesting, small group of printed ephemera and letters (2) relating to Ramsay MacDonald and his family, including T.Ls.S. by MacDonald´s private secretary Rose Rosenberg, and Parliamentary Private Secretary Frank Markham, two official unsigned 10 Downing Street Christmas greetings cards from Ramsay MacDonald, 1933/34 and 1934/35, a printed National Labour Committee menu for a luncheon to meet Ramsay MacDonald, Stanley Baldwin and John Simon at the Trocadero Restaurant in London on 6th November 1933, two pieces relating to the marriage of Joan Margaret MacDonald with a reception at Chequers, 20th September 1932, etc. Some light age wear and minor faults, G to generally VG, 13
WELLS H.G.: (1866-1946) English writer, remembered for his science fiction novels. A.L.S., H. G. Wells, one page, small 4to, Hanover Terrace, Regent´s Park, London, 17th February 1946, to Mr. Ernest (?). Wells regrets to inform his correspondent that ´engagements & the limitations upon my time & energy make it impossible for me to accept your invitation to lunch at Grosvenor House´. Some very light, extremely minor creasing, VG
ACTON HAROLD: (1904-1994) British writer and scholar, a prominent member of the Bright Young Things. A.L.S., Harold Acton, one page, 4to, La Pietra, Florence, 14th September 1976, to [Stephen] Brook. Acton states that he agrees with his correspondent and that Lord Berners deserves a biography, ´which might be very unusual and an amusing "period-piece" depending on the writer´s approach´, explaining, however, that he is unable to take on the task himself, although suggesting that Berners´ friend, Robert Heber-Percy (´who inherited his house at Faringdon, near Oxford´) should be able to suggest a worthy biographer, and further adding ´My own suggestion would be Peter Quennell, but I gather he is engaged in his own autobiography. Sir Frederick Ashton might also be able to suggest a qualified writer as Lord Berners contributed much to the ballet, even in Diaghilev´s time´. Together with a second A.L.S., Harold Acton, two pages, 8vo, Piccadilly, London, 26th November 1976, also to [Stephen] Brook, on the printed stationery of the Ritz Hotel. Acton states that he finds ´the whirl of London very fatiguing after Florence´ and regrets that he will not be able to meet Brook, further writing ´Any book about Lord Berners would involve some knowledge of his music but he has left some characteristic writings and paintings for he was extremely versatile. I fear it would not be an easy task, unless you had access to his correspondence. And I wonder if such a book could interest the average modern reader? Even I am treated as somewhat of a dodo´. A few light creases and one small tear to the edges of the first letter, generally VG, 2Stephen Brook (1947- ) English author and wine journalist, a former editor of The Atlantic Monthly Magazine and publisher at Routledge, Kegan & Paul from 1976-80.Gerañd Tyrwhitt (1883-1950) Lord Berners. British composer, novelist, painter and aesthete.
RHEE SYNGMAN: (1875-1965) South Korean politician who served as the first President of South Korea 1948-60. Blue fountain pen ink signature (´Syngman Rhee´) with a typed inscription above, on an 8vo sheet of printed stationery from Kyung Mu Dai (Blue House; the presidential residence of South Korea) in Seoul, 1st April 1960. Together with a T.L.S. by Yu, Chang Jun, secretary to Rhee, one page, 4to, Kyung Mu Dai, Seoul, 25th April 1960, to Fred Giffoniello, stating, in part, ´I regret it is not our Government´s policy to give out pictures of our President, but it gives me pleasure to enclose herewith his autograph for your collection´. Accompanied by the original envelope. VG, 2
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