John Ruskin (1819-1900), a collection of four signed letters,the first addressed to 'Professor Forbes', apologising for a late response and asking 'Would you like specimens of the Rocks!', mounted and stuck down,another addressed 'Dear Sir', stating he was unable to 'have been some use to the Working Men at Norwood' but is 'declining all engagements' due to 'having somewhat overtired myself',the third addressed to 'My dear Miss Elwyn', discussing a theatre visit whilst lamenting on 'Denmark Hill & where I am frozen (- I wonder if Prometheus were alive again, whether he would find any more fire in heaven to steal)', the fourth letter addressed to 'Luxmore', stating 'I am ashamed to take your money - but I begin to enjoy my business for the Guild now - and I do think you will have some satisfaction in it and me this year - unless I go crazy again at Midsummer' (4)
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John Ruskin (1819-1900), a group of various letters including: an eight-page signed letter, undated, to The Reverend Stephen Bridge concerning the building of St Matthew, Denmark Hill, the letter includes eleven small pen sketches of architectural details within the text, through which Ruskin attempts to show that the architect has made several serious design errors: '...I find myself reduced to the ungracious task of finding fault with the present design without being able to suggest any mode of arriving at a happier result - still, I feel so strongly that the large sum required for the completion of this floor plan will be miserably wasted - and that many who might be pleased by the drawing, would yet be disappointed by the church - that I cannot forbear giving you the reasons...', a signed letter to 'Mr. Bridge' from 31 Park Street, 23rd Nov., stating he has returned from Normandy '...finding in my own neighbourhood a piece of architecture so graceful and picturesque as your new church - I wrote a very impertinent letter about the design of it... I trust you will acquit me of conceitedness in the matter - and of putting much value on my high opinion - but I do love architecture very much and I believe I enjoy more than most people when I enjoy a design at all: and suffer more than most when I do not.', and three other signed letters from Ruskin to Bridge, an envelope to Bridge, franked 29th and 30th December 1846, a section of the text of a lecture by Ruskin, 'The Aim of Poetry', delivered in the Sheldonian Theatre, Oxford, 24th October 1877, and a two-page signed letter by Arthur Severn, dated Dec 5th 1900, from Brantwood, to The Reverend Stephen Bridge, concerning the choice of the dignitary to unveil the Ruskin Memorial (qty.)
A collection of theatre press photographs, 20th century, photographs of theatre stars and actors, including Laurence Olivier, Vivien Leigh, Joyce Grenfell, Jack Buchanan, Marquis George de Cuevas, Joan Sutherland, Liberace, Noël Coward and Dorothy Tutin, and performers on stage during a production of 'Hair', notes verso,largest 28 x 24cm (43)Condition ReportWith marks and creases commensurate with use.
A charming set of four Halcyon Days enamel treasure boxes, each finely crafted with gilt metal mountings and distinct decorative motifs. This collection includes a lavender and white box with a raised bumblebee and matching bee illustration inside the lid, a white floral box with violets and the phrase Forget-me-not, a red box adorned with comedy and tragedy theatre masks and musical ribbons, and a blue box featuring playful cherubs with the phrase Love Me Tender. All boxes are marked Halcyon Days Enamels, Made in England to the base and display the brand's signature craftsmanship and whimsical elegance. Largest piece measures 1.25"H. Issued: 20th century Dimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.
JAWS 2 (1978) - David Frangioni Collection: US Theatre Entrance Display, 1978 - A truly awesome theatre entrance display for the sequel to Steven Spielberg's blockbuster sensation. This large poster was designed to be a standee that, when cut out and assembled, would sit in an arch over the theatre doorway, so moviegoers had to walk through the mouth of the shark (a whopping 6' 8" tall!) in order to gain entry. Because the assembly of the display requires cutting the paper, many of these pieces have not survived in their original uncut condition making this a brilliant centrepiece for any Jaws collector.Some handling wear and a few large tears (largest being 9 cm) which, relative to the size of the poster, are quite minimal. Some discolouration to the whites in places and very minor paper loss around some edges. Assembly instructions are included in this lot. Dimensions (approx.): 96" x 144" (2.4 x 3.6 m)Condition: Very Fine-Artist: Unknown ArtistAdditional Provenance:David Frangioni is a published author, music businessman, producer, technologist, engineer, philanthropist, and drummer. He has worked with Aerosmith, Shakira, Ringo Starr, Ozzy Osbourne, Robbie Williams, and hundreds more. He is CEO of Modern Drummer Magazine and has several books published, including Clint Eastwood: Icon: The Essential Film Art Collection and Crash: The World's Greatest Drum Kits, both by Insight Editions. Frangioni is considered one of the world's most prominent and knowledgeable collectors of Clint Eastwood memorabilia and boasts an enviable archive of movie posters and memorabilia.VAT Status: Ω
COOL HAND LUKE (1967) - US Window Card, 1967 - "What we've got here is a failure to communicate." Paul Newman stars as rebellious chain-gang prisoner Luke Jackson who refuses to bow to authority. One of the most recognisable posters from the 1960s, this classic poster illustration was created by James Bama (know for his portraits of the American West) under the direction of Bill Gold.This US Window Card is presented mounted and unrestored. It has faded writing along the top with some light staining in places and stamped three times with "Fox Theatre". Dimensions (mounted): 69 cm x 49 cm (27.25" x 19.25")Condition: Fine-Artist: James Bama and Bill GoldVAT Status: M
PINK FLOYD: THE WALL (1982) - Framed The Judge Production Cel Display - A hand-painted production cel of The Judge, from the notorious animated trial sequence in Alan Parker's film adaptation of Pink Floyd: The Wall (1982), designed and directed by artist Gerald Scarfe.The character of The Judge is one of the most memorable and disturbing of the animated figures Scarfe created for the film - part theatre of the absurd, part nightmarish authority figure. Rendered with a raw anatomical style and a lip-lined chasm where a face should be, The Judge acts as both a grotesque caricature and a symbolic enforcer of psychological punishment.This cel was sourced from the 1990 charity auction held at Christie's South Kensington, created to coincide with Roger Waters' The Wall - Live in Berlin. Only a small number of production cels were released at this time, each accompanied by a certificate of authenticity personally signed by both Gerald Scarfe and Roger Waters, as seen here.This cel, used in the film's production, depicts the grotesque character in his full fleshy form as he prepares to render his damning verdict on Pink. It shows him mid-movement, painted in vivid tones against a beautifully airbrushed starry background. This is a rare opportunity to acquire a screen-used production cel from arguably one of the most visually daring and culturally significant animated sequences ever committed to film. The cel comes displayed within a frame with the certificate situated underneath. Dimensions (framed): 83 cm x 56 cm x 2.5 cm (32.75" x 22" x 1")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M
AFTER SIR JOSHUA REYNOLDS PORTRAIT OF GEORGE COLMAN (1732 - 1794) Oil on canvas 77 x 64cm (30¼ x 25 in.) UnframedProvenance: The Gow Collection Sale, Bonhams, Old Master and British Paintings, 7 December 1989, lot 12 (as Sir Joshua Reynolds, for £9,694)George Colman the Elder (1732 - 1794) was an English dramatist and essayist. Amongst his plays were Polly Honeycomb (1760), and The Jealous Wife (1761). In 1766 he produced The Clandestine Marriage jointly with David Garrick. Colman was acting manager of Covent Garden for seven years. In 1774, he sold his share in the playhouse to James Leake, and used the proceeds to buy a small theatre in the Haymarket. The original portrait of Colman painted by Reynolds, was painted for the 1st Baron Mulgrave, and was exhibited at the Royal Academy in 1770. It was last sold at Sotheby's on 8 April 1998, lot 101. Other known copies are in the Garrick Club, London, at Buscot Park, Oxfordshire, and in the National Portrait Gallery, London.
FRENCH SCHOOL (19TH CENTURY) THEATRE DES FOLIES DRAMATIQUES Pen, ink and bodycolour Signed with initials and dated 'R.Y 1839' (lower right) and inscribed as titled (along the upper edge) 21.5 x 12.5cm (8¼ x 4¾ in.)Together with two sketches by various hands, one pencil portrait of a gentleman, the other a watercolour portrait of a woman, the largest 24 x 25cm (3)
Vinyl - 28 Rock / Pop / Folk LPs to include Sex Pistols x 2 (inc No Future UK private pressing), Public Image Limited, Family, Jehnny Beth (sealed and signed), Hawkwind, Principal Edward's Magic Theatre (Dandelion), Everything But The Girl, London Grammar, Marlena Shaw, The Move, Matthew's Southern Comfort, Steeleye Span x 3 and more. At least Vg overall
Vinyl - Over 50 Post Punk / New Wave LPs, 6 12" singles and 1 10" to include The Cure, The Glove (blue vinyl), Secret Affair, Echo & The Bunnymen x 2, Elvis Costello x 9, Theatre Of Hate, Squeeze x 4, The Teardrop Explodes, Dr Feelgood x 3, Ian Dury & The Blockheads x 2, Altered Images x 3, Spear Of Destiny x 3, New Model Army (1 LP 1 12"), The Triffids, The Icicle Works, Drs Of Madness, XTC (2 12"), A Certain Ratio (12") and others. Vg+ overall
Vinyl - Over 50 Rock & Pop LPs to include David Bowie, Howlin' Wolf, Sparks, Culture Club (pic disc), Steely Dan, The Firesign Theatre, Memphis Slim, Bob Dylan, Lighthouse, Fairport Convention, Donovan, Osibisa, The Pentangle, John Lennon, Eagles x 2, Elvis Presley, The Who, Roxy Music, Genesis x 2 and others. Vg overall
A bronzed spelter Art Deco floor lamp in the form of a nude female on marble base with bulb suspended from her right hand, in working order though the lamp shade is cracked. Reported by the vendor to have connections to the theatre. the little fingers on both hands are missing and the lamp measures 147cm high
HASEGAWA; seven 1:48 scale model fighter plane kits, including 'Hurricane Mk. IID', 'Messerschmitt Bf109f-4 Trop North Africa Theatre', 'F6F-3 Hellcat USS Essex', 'F-4E Phantom II 30th Anniversary', 'Junkers JU87D-4 Torpedo Flieger' etc, and two 1:32 scale model fighter plane kits comprising 'F6F-5N Night Hellcat, VMF(N)-541' and 'Kawasaki KI61-I Hei Hien' (9).
Two heavily autographed theatrical books; The English Ballet by W.J. Turner and A Theatre For Everybody by E.J. Dent, both extensively filled with autographs including; Alec Guiness, Margot Fonteyn, Pamela May, Robert Helpmann, as well as a large number of other key figures from the Sadler’s Wells Ballet Company, Sybil Thorndyke, Pamela Brown, Noël Coward, Margaret Diamond, Peggy Ashcroft, Robert Morley, Ralph Richardson, and others from the world of theatre.
watercolour on paper, signed and dated 1976 framed and under glass image size 74cm x 44cm, overall size 79cm x 49cm Note: Born in Portobello, McIsaac trained at the Edinburgh College of Art between 1930 and 1934, where he was taught by Scottish Colourist Samuel Peploe, whose style had a lasting influence on McIsaac?s still-lives and interior paintings. Whilst teaching art during the 1950s, McIsaac wrote widely on Scottish art and published in the 'Scottish Art Review', 'The Studio', and the Edinburgh Evening News. He also took to stage designing, undertaking assignments for sets and costumes for some of Scotland?s leading figures in theatre. An Edinburgh phenomenon, McIsaac opened up his studio every Saturday for 20 years, and he attracted a wide circle of native and visiting artists, writers and musicians, so becoming one of the best-known names of Edinburgh's cultural scene.
oil on board, titled label verso framed Handwritten label verso image size 62cm x 97cm, overall size 74cm x 110cm Handwritten label verso Note: David Cook was born in 1957 in Dunfermline and attended Duncan of Jordanstone College of Art in Dundee from 1979-84. He was recognised early as an exceptional talent, winning the first prize at the annual student show at the Royal Scottish Academy in 1983. He then won a travel award which took him to Paris, Amsterdam, Belgium and Cyprus. He won the Guthrie Award at the RSA in 1985 and was given Scottish Arts Council Awards in 1985, 1988 and 1989. He has exhibited irregularly but notably at The Traverse Theatre in 1982 and with the 369 Gallery throughout the following decade. In the 1990s he was already visiting "Seagreens" (his current home) and staying at a cottage at Benholm, two miles to the North also frequented by Alberto Morocco and Ian Eadie. Cook travelled regularly in these years to Turkey, the Balearics and significantly, at the invitation of the Everard Reed Gallery, to Southern Africa for three months in 1997. He was able to secure the tenancy at Seagreens shortly after his return and eventually bought it in 2004. Joan Eardley worked at Catterline, just eleven miles to the north of Seagreens and like Eardley sixty years earlier, David Cook feels the emotional draw of the sea and the wildness of the coastal environment. This sense of belonging is now deeply embedded; he can see the seasons change and paint the whole calendar; the daffodils of Spring, wild flowers of Summer, the Autumn skies and bleak drama of Winter are all on show: immediate, raw and compelling. David Cook is represented by The Scottish Gallery (Edinburgh) and his most recent solo show there was "Forged by the Sea" 29th June - 22nd July 2023. His known public collections include: The City of Edinburgh Council, Dundee Art Gallery & Museums, Dunfermline District Museum, Glasgow Museums & Galleries, The Hunterian, Kirkcaldy Museum & Gallery, Knysna Fine Art (South Africa), The Scottish Arts Council, University of Dundee, University of Warwick, Art in Healthcare and in corporate collections in the UK. Recent prices for David Cook's paintings in our auctions in 2024 include sales of œ480, œ550 and œ800.
oil on canvas, signed, titled verso framed image size 50cm x 30cm, overall size 68cm x 48cm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean?s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.?s leading auction houses. His work has now become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an ?interesting bite?. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008. Known commissions & collections include: Aberdeen Asset Management 2017, to produce a series of original paintings inspired by the whisky making process; Buzzworks Holdings Ltd 2017, Commissioned to produce a large scale oil of the ancient "King Malcolm of Scotland"; Commissioned by William Grant & Sons Ltd to produce a painting and statement to be incorporated onto their bottles of Glenfiddich single malt whisky.; Commissioned by Bayard Partners Ltd, Investment Fund Managers, London to produce a large scale painting for their company reception.; Commissioned by "Scottish Opera" to produce five large paintings depicting all aspects of Opera and Theatre. Images were used as boardings on the exterior of The Theatre Royal, Glasgow.; Commissioned by Celtic FC to produce a painting to mark the 40th anniversary of their 1967 European Cup winning team known as "The Lisbon Lions". A limited edition print of the painting was published each with a certificate signed by Graham McKean along with signatures from all the surviving team members. The finished painting was presented to Billy McNeill MBE, Captain of the cup winning team.; 2009, Portrait to celebrate the life of Michael Jackson received worldwide press coverage. Uri Geller, close friend of Michael Jackson, commented "McKean's painting of Michael is a truly fantastic piece and is amazingly powerful."; 2011, A new oil painting of the Scottish cartoon character "Oor Wullie" was unveiled at McTear's (Glasgow) receiving wide acclaim and coverage on national television and news media.; 2013, Commissioned by North Ayrshire Council to produce a painting to mark the 50th anniversary of Irvine being officially designated as a Scottish New Town and the regeneration and redevelopment of much of the old town. The painting was also produced to portray the influx during this period of many families from Glasgow and the surrounding areas who resettled in Irvine.; 2013, Commissioned by Bentley Motors, Glasgow to stage a major exhibition of new work for display at their main Scottish dealership in Hamilton. A number of new "automobile inspired" paintings were produced for this show.; Commissioned by Scottish Art Direct to produce a large scale painting inspired by Scotland's so called "tartan army". The finished work, titled "Flower of Scotland" was unveiled at The Scottish Football Museum in Hampden Park Stadium attracting national TV, press and radio coverage.; 2015, The Danforth Art Museum, Framington, Massachusetts, USA acquired a large scale painting titled "Desperados" which is now part of their permanent collection.; Standard Life, Baillie Gifford, Black Appointments, The Scottish Arts Council, Roycec, William Grant & Sons Ltd, The Ralli Museum (Switzerland and Israel), Glasgow Celtic Football Club, Daniel Stewart & Company, North Ayrshire Heritage Centre, Aberdeen Asset Management, Sir Tom Hunter, Demontfort Fine Art and private and public collections worldwide.
Wending Our Way Down West Bay'My design features a family herd of elephants walking together on the beach in front of the iconic cliffs of West Bay. It is a celebration of family, mutual support and cooperation, and the beautiful landscape of the area. Each elephant is unique, with distinctive personality and characteristics, yet they clearly belong together. 'by Julia KerrisonJulia Kerrison is an artist and illustrator living in Cornwall, but working all over the country - one of her favourite things about her job is that it allows her to travel and work with new people. She trained initially in the theatre before moving into fine art and illustration, and now specialise in murals and community art. She has a Masters degree in Authorial Illustration from Falmouth University, works regularly for festivals, circuses and theatre companies producing scenic art and props, and is a Trustee for the Lafrowda Arts Festival.Trail Location West Bay: Discovery Centre.
Memories by the SeaMemories by the Sea is a visualisation of remembering trips to the seaside. The design shows forget-me-nots radiating from the elephant's head (a nod to "an elephant never forgets") and intermingling with elements of the sea, as if recalling memories of the seaside. The colour palette was inspired by the logos of Weldmar Hospicecare and Stampede by the Sea.by Betheny WaygoodBetheny is a recent BA (Hons) Illustration graduate based in Bournemouth. Her artwork is mainly inspired by animals and nature. She enjoys creative experimentation and tackling new challenges. 'Memories by the Sea' is Betheny's biggest project to date and first art trail sculpture.Trail Location Lyme Regis - Sea Wall (near Marine Theatre).
Boyle (Robert) A Continuation of New Experiments Physico-Mechanical, Touching the Spring and Weight of the Air, and their Effects. The I. Part, first edition, final f. with vertical half-title (very small marginal ink-spot), 8 folding engraved plates, bookplate of John Crerar Library of Chicago with de-accession stamp, small numerical ink-stamp to foot of *2, a few plates trimmed just shaving image at foot, occasional soiling, light browning to margins, 20th century marbled boards, spine with paper label titled in ink, library blind-stamp to foot of upper cover, loss to spine foot, some wear to extremities, [Fulton 16; Wing B3934], small 4to, Oxford, Henry Hall Printer to the University, for Richard Davis, 1669. *** Plate V, fig. I, shows the experiment in which Boyle sucked water up with his pump to the top of the Sheldonian Theatre in Oxford. Part II of the Continuation appeared in Latin in 1680 and in English in 1682.
Bees.- Purchas (Samuel) A Theatre of Politicall Flying-Insects. Wherein Especially the Nature, the Worth, the Work, the Wonder and the manner of Right-ordering of the Bee, is Discovered and Described, 2 parts in 1, first edition, titles within typographic borders, woodcut initials, errata leaf c2 misbound before c1, without longitudinal half-title but with 3pp. advertisements at end of part 1 and blank leaf following title to part 2, Penelope Jephson's copy with her contemporary ink inscription "Penelope Jephson her Booke 1666" to front free endpaper facing title, title lightly soiled and stained, some worming (mostly at beginning affecting lower border of title & a few catchwords, and a few letters towards end), Rr1 & 2 torn and repaired at lower outer corner, contemporary sheep ruled in blind, a little worn and marked, rebacked with red morocco label, corners repaired, [British Bee Books 35; Hagen 55.2; Wing P4224], small 4to, Printed by R[obert] I[bbitson] for Thomas Parkhurst, 1657.*** A good copy of this work by the son of the author of Purchas his Pilgrimes, with an interesting contemporary provenance. Penelope Jephson (1646-1725), daughter of Maj. Gen. William Jephson (1609-1658), M.P. for Stockbridge and a substantial landowner in Mallow, County Cork. She married Simon Patrick, a prebend of Westminster and later bishop of Ely, in 1675. The Folger Shakespeare Library in Washington DC owns a manuscript receipt book of cookery and medical recipes complied by Jephson between 1671 and 1675. Recipe 64 is for honeyed gingerbread similar to modern Anglo-American treacle/molasses gingerbread.
FOUR CHINESE THEATRE FILIGREE HEADRESSES 20TH CENTURY between 40cm and 22cm high Provenance: Private Collection Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW Wear commensurate with age, use, cleaning and storage Patina throughout, please see additional images Would benefit from a clean ADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot. Condition Report Disclaimer
A large album of predominately early 20th century postcards. Featuring numerous Birthday greetings postcards, sentimental scenes, topographical, theatre stars from the era, humorous, religious scenes, Bamforth WW1 sentimental cards, an early WW1 1914 Field Service postcard, WW1 embroidered silk postcard, and many others. Over 280 cards in total. Condition: good to most pieces, with some normal age related wear in places, such as light soiling, a little creasing, and marks from handling. Viewing of the collection is recommended.
Juan del Río (Cuba, final third of the 18th century)‘Portrait of a Gentleman’Oil on canvas. Signed with "Rio lo pinto en la Havana en 18015 [1815]" (Rio painted it in Havana in 1815).95 x 68,5 cm.There are three patches on the back.The sitter holds a missive addressed to ‘Ala. Sra. Da Francisca Perez in Santander’ in his hand.As we read in the small illustrative publication, dedicated to Juan del Río, published in 1958 by the Palace of Fine Arts of Cuba, Juan del Río was a renowned and outstanding colonial painter who, despite having a different style in his work, is believed to have been a disciple of Vicente Escobar. ‘The first recognised paintings by the artist date from the last decade of the 18th century. His masterpiece is perhaps the marvellous and eloquent portrait of Luis Ignacio Caballero, which is proof of his knowledge of Spanish painting in this genre. He also collaborated with Báez, an outstanding engraver. A print of the Virgin of Covadonga, drawn by him and engraved by Báez, is kept in the collection at the National Museum’.Likewise, in Opus Habana, we read that: ‘Juan del Río (1748-18...?), painter of religious subjects and portraitist, is one of the few known painters from our colonial history and immortalised captains general, aldermen, mayors and nobles’. Through his effort, dedication and vocation as a painter, Juan de los Ríos became a renowned artist who left a legacy of a large number of important artworks, including stage sets for theatre, drawings and oil paintings. The Museo Nacional de Bellas Artes de Cuba has the aforementioned painting of Don Luis Ignacio Caballero (perpetual alderman of Havana) as well as one of Our Lady of Mercedes.The inscription ‘Juan del Río painted it’, which del Río placed at the foot of his artworks, gives further value to the collection, which is appreciated as being part of the history of Latin American art.Reference bibliography;- Opus Habana. Volumen II, nº 3 1998. Pág. 62 – 63 https://www.opushabana.cu/index.php/articulos/36-articulos-casa-de-papel/325- - (2001). Https://www.bellasartes.co.cu/sites/default/files/public/publicaciones/patronato_1958.pdf (currently known as the Museo Nacional de Bellas Artes de Cuba) in which Juan del Río's painting of our Lady of Mercedes is discussed.
American, 1898-1954(i) Broadway: Nora Kelly & Others; The Walton & Others; The Peretos & Others: ThreeEach ink and pencil on paperEach 23 x 4 inches(ii) Hippodrome: The Sutcliff Family & Others; Arnant Brothers & Others; Reynolde & Donegan & Others: ThreeEach ink on paperEach 22 3/4 x 5 1/4 inchesProvenance:William Benton, New YorkCharles and Marjorie Benton, Evanston, ILDC Moore Gallery, New YorkExhibited:Storrs, University of Connecticut, William Benton Museum of Art, Theatre World Drawings of Reginald Marsh, Nov. 18, 1972-Jan. 23, 1973Please note the six works in the present lot are mounted together in a single frame. (Framed 28 1/2 x 35 1/2 inches)
FRANZ VON LENBACH (GERMAN 1836 - 1904), PORTRAIT OF THE ACTRESS MAXINE ELLIOT oil on canvasframedtogether with a preparatory charcoal sketch, also framed and under glass measuring 112cm x 85cm overallimage size 196cm x 75cm, overall size 128cm x 98cmQty: u2Note: Franz von Lenbach was born on December 13, 1836, in Schrobenhausen, Bavaria. The son of a mason, he trained at Landshut Technical College with the intention of pursuing his father's trade. In 1851 he began working in Munich in Anselm Sickinger’s sculpture studio. Through his older brother, Karl August Lenbach, he met Johann Baptist Hofner, an artist who had trained at the Munich Academy of Fine Arts, who formally introduced him to drawing and painting. Having attended the Augsburg Polytechnic for two semesters, between 1852 and 1853, and working for a few months in Albert Gräfle’s studio, Lenbach enrolled in the Munich Akademie in 1854. In 1857 he became a pupil of Karl Theodor von Piloty, an artist famed for his history paintings. The following year, with the help of a scholarship, he accompanied Piloty on a trip to Rome, along with Carl Ebert, Ferdinand von Piloty, and Theodor Schüz. In Italy he made several oil and pencil sketches that would inspire such famous paintings as L’arco di Tito (1860), finished upon his return to Munich. From 1860 onward, he started teaching at the Weimar Art School and devoted himself to reproducing Old Master works on commission for Count Adolf Friedrich Graf von Schack. His work as a copyist took him back to Italy as well as Spain, Vienna, and Berlin. At the end of the 1860s, he settled in Munich and became internationally successful thanks to the many portraits he painted of society personalities of the time, including Otto von Bismarck, Peggy Guggenheim, Franz Liszt, and Richard Wagner. At the beginning of the 1870s, he substituted his previous bright palette with darker tones and started using light more effectively, especially in his portraits. His style went on to have a remarkable influence on the art of the time. In 1882 Lenbach was granted nobility, and in 1900 he won the Grand Prix for painting in Paris. He died in Munich on May 6, 1904.Note 2: Maxine Elliott was born Jessie Dermott, in 1868 to a Rockland, Maine, sea captain. She went to New York as a young woman and married comedian Nat Goodwin. Maxine’s beauty and acting abilities led to a 30-year career as a stage actress, and she skyrocketed to fame. For a time, she also operated a New York theater branded with her name, “Maxine Elliot’s Theatre.” Maxine’s life was a wild one. Her intimates included J.P. Morgan, British King Edward VII and Charlie Chaplin, among many others. In 1913 she began dating New Zealand tennis star Anthony Wilding. During World War I she donated her money and her time to Belgian war relief. But Wilding was killed in the war. By 1920, Maxine’s talent, and some help from her wealthy friends, had left her with no need for more money. She retired to a Mediterranean estate in Cannes, France. She wished to age gracefully at her home, Château de l’Horizon. A white art deco villa, it featured a large terrace and a long slide to drop her and her guests from the swimming pool into the sea. Large parties of libertines assembled at Maxine Elliott’s French estate, and it became notorious. Winston Churchill visited from 1933 to 1939. Winston’s wife Clementine had little use for Château de l’Horizon or Maxine and her friends. Clementine viewed them as gossipy and frivolous. Maxine Elliot/Jessie Dermott died at her French estate in 1940 at age 72, far from her Rockland, Maine, beginnings. Her estate now belongs to the Saudi royal family.
ROBERT E GROVES (BRITISH 1868 - 1948), MIDDLE EASTERN MARKET oil on board, signed and dated 1918framed and under glassimage size 29cm x 24cm, overall size 50cm x 45cm Note: A marine and landscape artist in pencil, watercolours, gouache and oils, Robert Emmanuel Groves, was born in Richmond, Yorkshire on the second of December 1868, the son of Thomas Groves and Lavinia (nee Medd), he was the eldest of seven children. The family had a brewery business in the Manchester area trading under the name “Groves and Withnell” and would spend the Summer month in Ramsey – Isle Of Man. Aged just 12, he was living with his parents in Leicester in 1881, but at 24, was apparently living in Bohemian Chelsea in 1893. His addresses in that period were believed to have been 50 Tedworth Square and 42 Paultons Square. He studied art under Albert Strange in Scarborough, Yorkshire in the early 1890s, and exhibited his first works at the Royal Academy in 1893, exhibiting five works there during the period 1893-1903 from around 15 works exhibited there overall. He was living in St Albans by 1894, teaching at the Art School of the St Albans School of Science and Art, taking the first of a number of trips to the Western Highlands with a trip to Iona, off the coast of Mull, in 1897, resulting in works like The Iona Ferry, 1897. Marriage to Mary Hall Keir Cameron took place in Glasgow in 1894, and they had a daughter Sheila on October 16th 1901. He was heavily involved in the St Albans pageant of 1907, designing a series of historical postcards, published by printer Raphael Tuck, to be sold to raise funds for the event. He was still at St Albans in 1910 when he was complimented by a visiting American scholar, Mr Charles A. Bennett, when he wrote up his experiences in St Albans for an article in Manual Training Magazine (Vol XII, No. 1, Oct 1910) of which he was editor. As a practising Bohemian, Groves was a lover of life – and women. It is known he had at least one long running extra-marital relationship, with Jessie Smith, with whom he had five children : John (1925), Jessica (1928), Donald (1931; who died in infancy), Seonaid (1934) and Robert (1936). Becoming a member of the HumberYawl Club in 1904, no doubt shortly after committing to the building ofSheila, he made the first of many trips to the Western Highlands in her and the later Sheila II, writing of his experiences cruising in a small yacht, many stories of which were published in the HYC journals and in the Yachting & Boating Monthly. An early and prolific contributor to Yachting Monthly, in the pre-WWW1 under its original founder/editor, Herbert Reiach, Groves’ produced many fine pencils sketches of yachts and marine subjects, and his contributions were especially valued. It is understood his exploits in a small yacht (only 2 ½ tons) were unusual at the time, and his articles taken from his logs, encouraged others to emulate them and paved the way for the sport of ‘yacht cruising’ more generally. By 1908 he had made his first visit to North Africa, writing of his experiences in The Studio (Vol XLV, 1908, p25) and writing Morocco as a Winter Sketching Ground for The International Studio (Vol XXXVI, No. 141, Nov 1908). He is thought to have returned in 1918, painting a series of oils and pencil works of various landscapes, including : In the souk; Horseshoe arch, Morocco; and Powder play in the Running Ground Square, Mogador, Morocco, 1918, the latter held by the Art Gallery of NSW. It is believed these trips to Mogador (now Essaouira) inspired the name of his St Albans home, ‘Mogador’. In 1919 he had again returned to the Western Highlands, where he painted a number of seascapes including West Highland Lobster Fishermen (1919). A keen amateur ornithologist, Groves especially loved the seabirds and waders of the Western highlands, and spent many happy holidays there, observing, sketching and painting, usually with one of his beloved yachts in the picture. An ardent theatre-goer and thespian, Groves was heavily involved in local theatre, including various pantomimes and such works as ‘The Beggar’s Opera’, his production of which is believed to have toured the Midlands in 1926. He retired to Lymington, Hampshire, on the shores of the Solent Estuary, to The Old Coast Guard House in the early 1930s, where he spent the rest of his life, including the WWII years when he was, in his seventies, a member of the Home Guard.
18th Century School “The Massacre of the Innocents”, (copy of original by Nicolas Poussin), O.O.C., c.1850, approx. 64cms x 76cms (25” x 30”). (1) Dating probably from the mid-nineteenth century, this copy of Nicholas Poussin’s The Massacre of the Innocents is an almost exact replica of the original, conveying all of the barbarism and tragedy of the scene, taken from the Gospel of St. Matthew. The original was commissioned in the 1620’s by the Roman banker Vincenzo Giustiniani. A leading patron of the arts, Giustiniani had assembled one of the finest collections in Italy and was also a patron of Caravaggio. The commission was a prestigious one, particularly for such a young artist. Poussin rose to the challenge, seeking to outdo Guido Reni’s famous painting of the same subject, painted in 1611 for the Basilica San Domenico in Bologna. He devised a dramatic composition resembling a theatre stage, with the main protagonists in the foreground, and subsidiary characters in the background. The architectural setting of a Greek temple adds to the intensity of the work. The action is concentrated on three main figures, the soldier who places his foot on the infant, the distraught mother, and the dying child. As well as Guido Reni, the influence of Caravaggio is evident, particularly in the use of stark lighting to emphasis the tragedy of the scene. The Massacre of the Innocents was displayed at the Palazzo Giustiniani and quickly became one of the most celebrated works of art in Rome. Over the centuries, it has continued to inspire artists, notably Picasso, who in the 1920’s and 30’s based several paintings on Poussin’s work, while Francis Bacon described the mother’s cry of anguish as ‘one of the best ever painted’. The original is now in the Musée Condé de Chantilly, in France. Dr. Peter Murray 2025
Gibson, Edmund Chronicon Saxonicum Ex MSS Codicibus nunc primum integrum edidit, ac Latinum fecit. Oxford: e Theatro Sheldoniano, 1692. First edition, 4to, [6] 244 [18] 64 pp., contemporary vellum, engraved vignette of the Sheldonian Theatre to title-page, engraved folding map of Anglo-Saxon England, Anglo-Saxon and Latin text in parallel columns, light worming to foot of gutter from quire 2H to end (text never affected). Together with a defective copy of John Row, Hebraeae Linguae, Glasgow, 1644, lacking at least the first two leaves of the second part (‘Chilias Hebraica’), covers detached (2) Edmund Gibson's Chronicon Saxonicum was ‘the first scholarly edition of the Anglo-Saxon Chronicle to be based on a collation of several different recensions’ (Niles, The Idea of Anglo-Saxon England, 2015, p. 384).
Book of Common Prayer The Book of Common-Prayer, and Administration of the Sacraments Oxford: printed at the Theatre, and are to be sold by Thomas Guy, 1684. 12mo (13.5 x 7cm), contemporary red morocco, spine richly gilt in compartments, decorative panels and floral cornerpieces to covers, marbled endpapers, all edges gilt, engraved portrait frontispiece of James II, 44 engraved plates including New Testament scenes and portraits of saints, lacking leaf F12, also lacking N10-12 but these apparently cancelled and the text continuous, a few small tears Ownership inscriptions of one Hannah Keeble dated 1689 to endpapers, together with contemporary annotations noting the births of her children with her husband John Chandler, i.e. Keeble, Hannah and John, dated 1706 and 1709.
A mixed lot, comprising five various whistles, largest 14.5cms, a painted wooden French late 18th Century quadrille box with three counters, brass mounted boxwood folding rule / gauge, two pairs of theatre binoculars, two coconut puzzle balls, brass vesta ‘trench’ lighter, a complete green stained bone alphabet, papier mache circular box, and four other pieces. (18)
Cunningham (Peter). The Story of Nell Gwyn: and the Sayings of Charles the Second. related and collected by Peter Cunningham, 2 volumes, New York: John Wiley's Sons, 1883, EXTRA ILLUSTRATED with 228 added engraved portraits and views, some facsimiles, and other historical prints (mostly 19th century, but including some 18th century and early 20th century) as well as autograph signatures and manuscript documents, the latter including autograph letter by the compiler Peter Cunningham, clipped signature of Charles Sackville, Earl of Dorset, a clipped document signed by Sir Robert Walpole, dated 24th October 1738, a 4-page manuscript letter in brown ink by Henry Sidney, Earl of Romney, Master-General of the Ordnance from 1693-1702, dated St. James's 22nd October 1698, a manuscript document in French on vellum signed by Louis XIV, King of France, dated August 12th 1704, autograph letter signed by the 19th century painter C. M. Ward, a printed and manuscript document of power of attorney signed by the Earl of Pembroke, date August 28th 1720, a manuscript letter signed by Charles Sackville, 6th Earl of Dorset, dated June 19th, 1690, addressed to the Lords Commissioners of the Treasury informing them of an agreement with Sir Francis Child, His Majesty's Jeweller, for a diamond ring of the value of £300, given to Baron Cobb, and other jewellery gifts, a clipped vellum document signed by John Powlett, Marquess of Winchester, a clipped signature of Henry Bennet, Earl of Arlington, a manuscript document signed by the Earl of Lichfield, dated October 26th 1682, to the Ranger and Keepers of Woodstocke Parke... 'to Will and requre you or either of you to kill and deliever to the bearer here of one fatt Dooe of this season...', a clipped signature of Gilbert Burnet, Bishop of Salisbury, a clipped document signed by Laurence Hyde, Earl of Rochester, dated April 26th 1679, a manuscript document signed by the Earl of Jersey, Sir Stephen Fox, Henry Boyle, Lord Carlington, and Richard Hill, being a warrant to the Earl of Montague, Master of Her Majesties Great Wardrobe, to deliver to 'ye strewer of Herbs to her Majesty - a Gown of Scarlett Cloth with a badge & Her Majesty's cypher on it as was provided at ye last coronation' (fragile with some repairs to folds), a clipped document signed by Lord Portmore dated February 1689, a clipped document signed by the Earl of Oxford, dated April 1713, and a clipped signature of John Wilmot, Earl of Rochester, plus a printed English Civil War tract (The King's Majesty's Alarum for Open War, declared by His setting up His Standard at Dunsmare-Heath. Also His affront at the City of Coventry, by denying him entrance into the City, and His resolution thereupon, to plant Ordnance against it, and batter down the City, and all other Cities and Townes that shall deny His admittance, [London]: printed for Tho. Richard, August 25. 1642, 8pp., royal coat of arms to verso of final leaf, small 4to), inserted additional title page to each volume 'The Story of Nell Gwyn by Peter Cunningham, extended from one to two volumes with two hundred and twenty-eight extra prints and autographs by L. W. October 1915', top edges gilt, remainder rough-trimmed, inside gilt dentelles, early 20th century gilt-decorated red full morocco (by G. Walters, with his binder's stamp to verso of front endpaper of each volume), rubbed and wear to spines and joints, recased with original spines laid down, contained in purpose-made maroon cloth slipcases (some wear), large 8vo QTY: (2)NOTE:Wing C2086; Thomason E.114[10] (for the printed tract The Kings Alarum for War, the publication which marked the formal commencement of hostilities between King Charles I and Parliament, and the start of the English Civil War).The printed illustrations include Bartolozzi's stipple-engraved portrait of Nell Gwyn after Peter Lely, published 1802, an engraved portrait of Charles I, with caption in French, published by Peter Stent, engraved view of the Duke's Theatre, Dorset-Gardens, published July 1st, 1818, engraved portrait of Edward, Earl of Clarendon, engraved portrait of Sir William Temple by George Vertue after Lely, circa 1720, an etched portrait of the Earl of Rochester crowning his monkey by W. N. Gardiner after S. Harding, published 1794, and other portraits of various beauties of the age, and members of the Royal court.
* Broadwood (Sophia, 1805-1892). Manuscript album of keyboard works, circa 1820, 44 leaves of manuscript musical notation, the majority for keyboard, in brown ink on hand-ruled staves, most with handwritten lyrics and titles mainly in French and English, some with initials to upper right including S.B., several additional lyrics in English, Italian and French at end, contemporary manuscript gift inscription pasted to front blank 'Henrietta Anna Howard / The gift of her ever affectionate friend Sophia Broadwood / Great Campden House / August 1820', marbled endpapers, contemporary gilt-decorated red morocco, partly broken on inner hinges, some wear and minor losses to extremities, oblong 8voQTY: (1)NOTE:Provenance: Sophia Broadwood (1805-1892) was the granddaughter of James Broadwood (1732-1812), the founder of the piano manufacturer Broadwood and Sons. Her father James Shudi Broadwood (1772-1851) inherited the company on the death of his father.Tunes include: La Dorset, L'Étoile, Les Lanciers, La Mansfield, La Journée aux Aventures, La Pie Voleuse, The Walmoden Waltz, Valse Hongroise, La Comtesse de Jersey, Valse de Vienne, A Favourite Country Dance composed for a Fox's Brush, by G. G. Ferrari, for Miss Boradwood, January 3rd 1821, L'Auld Robin Gray, From the Sorrows of Werter, Il Reviendra, The Rein Deer, Moi J'aime la Danse, Arietta Romana, A Spanish Patriotic Song, etc.The intended recipient of this book, Henrietta Anna Howard, was almost certainly the first daughter of Lord Henry Thomas Howard-Molyneux-Howard (1766-1824). Her father served as Deputy Earl Marshal in the latter part of the reign of George III and early in the reign of George IV. Her uncle, Bernard Edward Howard, became the 16th Duke of Norfolk in 1815. Giacomo Gotifredo Ferrari (1763-1842) was an Italian composer and singing teacher who spent most of his career in France and England. Four of his operas, I due svizzeri, II Rinaldo d'Asti, L'eroina di Raab, and Lo sbaglio fortunato premiered in the King's Theatre, London. He also composed two ballets, a Mass, and numerous piano sonatas.
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