Books, Maps, Manuscripts & Historical Photographs Tuesday 19 March 2013 at 2pm Knightsbridge, London

4 | Bonhams Books, Maps, Manuscripts & Historical Photographs Tuesday 19 March 2013 at 2pm Knightsbridge, London

Bonhams Enquiries Please see back of catalogue Please see back of catalogue Montpelier Street London for important notice to bidders for Notice to Bidders Knightsbridge Matthew Haley London SW7 1HH Luke Batterham New bidders must also provide proof bonhams.com Simon Roberts Illustrations of identity when submitting bids. Francesca Spickernell Front cover: Lot 107 Failure to do this may result in your Viewing +44 (0)20 7393 3828 Back cover: Lot 12 bids not being processed. Friday 15 March 9am to 4.30pm +44 (0)20 7393 3834 Inside front & back cover: Lot 104 Sunday 17 March 11am to 3pm +44 (0)20 7393 3879 fax Bidding by telephone will only be Monday 18 March 9am to 4.30pm [email protected] accepted on a lot with a lower Day of Sale 9am to 12pm estimate in excess of £400. Carole Park Live online bidding is Bids +44 (0)20 7393 3810 available for this sale +44 (0) 20 7447 7448 Please email [email protected] +44 (0) 20 7447 7401 fax with “Live bidding” in the To bid via the internet Consultant subject line 48 hours before please visit www.bonhams.com John Collins the auction to register for +44 (0)20 7393 3828 this service. Please provide details of the lots on which you wish to place bids Oxford at least 24 hours prior to the sale. John Walwyn-Jones Lydia Wilkinson New bidders must also provide +44 (0)1865 853 647 proof of identity when submitting bids. Failure to do this may result Shipping and Collections in your bids not being processed. Leor Cohen +44 (0) 20 7393 3841 Bidding by telephone will only be +44 (0) 7968 798 420 mobile accepted on a lot with a lower estimate in excess of £400. Customer Services Monday to Friday 8.30am to 6pm Sale Number: 20751 +44 (0) 20 7447 7447 Catalogue: £18

Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Chairman, Colin Sheaf Deputy Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Antony Bennett, Iain Rushbrook, John Sandon, Tim Schofield, Registered Office: Montpelier Galleries Malcolm Barber Group Managing Director, Matthew Bradbury, Harvey Cammell, Simon Cottle, Veronique Scorer, James Stratton, Roger Tappin, Matthew Girling CEO UK and Europe, Andrew Currie, David Dallas, Paul Davidson, Jean Ghika, Shahin Virani, David Williams, Michael Wynell-Mayow. Montpelier Street, Geoffrey Davies, Jonathan Horwich, James Knight, Charles Graham-Campbell, Miranda Grant, Robin Hereford, London SW7 1HH Patrick Meade, Caroline Oliphant, Hugh Watchorn. Asaph Hyman, Charles Lanning, Camilla Lombardi, +44 (0) 20 7393 3900 Fergus Lyons, Paul Maudsley, Gordon McFarlan, +44 (0) 20 7393 3905 fax Andrew McKenzie, Simon Mitchell, Jeff Muse, Mike Neill, Charlie O’Brien, Giles Peppiatt, Peter Rees, Julian Roup, Important Notices

For explanation of any asterisked symbols that may appear in catalogues, please see the notice entitled ‘VAT’ at the end of the catalogue.

Please note that lots comprising printed books, unframed maps and bound manuscripts are not liable to VAT on the Buyer’s Premium.

Lots are sold with all faults, imperfections and errors of description, but if on collation any described printed book in this catalogue is found to lack text or illustrations, the same may be returned to Bonhams within 21 days of the sale; the unstated defect to be detailed in writing.

This shall not apply in the case of un-named items, blanks, half-titles or advertisements, nor to damage to bindings, stains, tears or other defects unless these result in loss to text or illustration. Atlases, maps and prints are sold not subject to return, as are items sold as collections, association and extra-illustrated copies, or as bindings.

Photographs and Prints

Unlike Books, Manuscripts and Maps, but following the general convention, descriptions of photographs, related albums and prints do not contain any particular indicators of condition or faults. A subjective opinion on such matters can be sought from the Book Department. The names of photographers given at the head of lots represent our opinion at the time of going to press. These may, or may not, be supported by factual information elsewhere in the description. For further important notices relating to lots offered in this sale see notices at the end of this catalogue.

Illustrations in the catalogue are for the purpose of identification only. Bidders should be wary of using illustrations as indicators of tone or contrast. In some cases (for example mounted and framed items) catalogue illustrations may not include full margins. Items indicated in the catalogue as ‘framed and glazed’ have not been examined out-of-frame, unless specifically stated. The measurements given for framed items are those of the image-to-view, although the actual image may be larger.

Collection and Storage

Buyers’ accounts are due for settlement at the end of each sale and it our hope that clients will collect at the same time or certainly within 48 hours of the sale finishing.

All other sold lots will remain in Bonhams Knightsbridge Books department for 21 days. Any items not collected after 21 days may be removed to our warehouse in Park Royal where storage charges will apply at the rate of £2 per day per lot, attracting a removal charge estimated at £5 + vat. Buyers can contact the Book Department Stock Manager Leor Cohen to discuss any collection, storage or shipping concerns.

Leor Cohen Tel: +44 (0) 20 7393 3841 Mobile: +44 (0) 7968 798 420 Email: [email protected] 47

Contents

Lots Books, Maps and Manuscripts 1-96 Historical Photographs 97-113 Artists’ Letters and Drawings 114-135 Modern Literature, Children’s, Illustrated and Private Press 136-235 Property from the Estate of the late Thomas Yoseloff 190-206 Property of a Gentleman 207-235 2

8 | Bonhams Books, Maps, Manuscripts & Historical Photography Tuesday 19 March 2013 at 2pm

Please note that this sale is subject to the Conditions of Sale and other Notices at the beginning and end of this catalogue, and any saleroom notices that may be posted. Your attention is drawn to the notices at the beginning of the catalogue regarding the removal of purchases.

1 • ALBIN (ELEAZAR) A Natural History of English Insects. Illustrated with a Hundred Copper Plates, Curiously Engraven from Life: And (for those who desire it) Exactly Coloured by the Author Eleazar Albin, Painter, first edition, 99 hand- coloured engraved plates after drawings by the author (of 100, lacks plate 21), each with accompanying text leaf by W. Derham, list of subscribers, toning and light spotting throughout, neat early ownership inscription (“CHP: Gnlz Hillier. ex Bib: Edward Green, Chirurgas”), bookplate of William Hillier, 4th Earl of Onslow (1853- 1911, Governor of New Zealand), modern morocco gilt preserving original red morocco spine [Nissen ZBI 58; Freeman 45; Lisney 119], 4to (283 x 228mm.), for the Author, 1720 £800 - 1,200 €930 - 1,400

“Each plate is dedicated to a subscriber or well-known personality, undoubtedly those who acted as patrons or took an interest in Albin’s drawings of insects” (Lisney). Albin was keen to stress that his work was accurate in its depictions as he “observed it as a great fault in those who have gone before... that they either did not look often enough at their Pattern, or affected to make the picture outdo Nature” (Preface).

2 • ALBUM AMICORUM Album Amicorum kept by Carl Wi[l]helm Gödicke at Halle in 1780-81, comprising some fifty entries by John Christian Hendel, Johann Philipp Roth and others, in all, many embellished, six with profile silhouettes, three with watercolours (a stylised city, a rider approaching the coast, and seated soldiers being served at mess), others with music, printed ephemera, etc., c.50 pages plus blanks, Dutch floral marbled endpapers, lower cover stamped ‘1780’ (detached), upper cover lacking, spine worn, oblong 8vo, Halle, 1780-81 £600 - 800 €700 - 930

3 ARCHITECTURAL DRAWINGS Collection of twelve late seventeenth or early eighteenth century architectural drawings, comprising:

(i) Front elevation of the west facade of an Italianate church, with statues of pilgrim saints in niches to the side of the entrance and saints with musical instruments on the roof pillars, with a ground-plan of the portico below, on paper, pen-and-ink with grey wash, 520 x 390mm.

(ii) Front elevation of a palazzo with eleven bays, swagged arms above the front entrance, ground plan below, on paper, pen-and-ink with grey wash, 400 x 530mm. ( iii) Front elevation of a palazzo, with two side bays and papal arms above the central window, on paper, pen- and-ink with grey wash, 780 x 512mm.

(iv) Front elevation of an Roman archway, with four pyramid finials, with ground plan below, on paper, pen- and-ink with grey wash, blue wash surround, 398 x 376mm.

(v) Front elevation of a nine-arched colonnade, with ground plan below, on paper, pen-and-ink with grey wash, 350 x 500mm.

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(vi) Front elevation of a palazzo with two side bays, ground plan below, inscribed “Scala di Moduli” over rule, on paper, pen-and-ink with grey wash, browned overall, small worm-holes, etc., 500 x 640mm.

(vii) Front elevation of a tempietto with cupula, topped by a statue of Justice, statues in animated posture on central balustrade, ground plan below, on paper, pen-and-ink with grey wash, 560 x 500mm.

(viii) Front elevation of an eleven bayed palazzo, of three stories, arms above entranceway, with fourteen statues set on plinths above the rood balustrade, ground plan below, on paper, pen-and-ink with grey wash, 465 x 730mm.

(ix) Front elevation of the west facade of an Italianate church in five bys, surmounted by four statues an angels with musical instruments, gorun plan below inscribed “Scala di Moduli 24.mo/ Scala di Moduli 20.mo”, on paper, pen-and-ink with grey wash, 600 x 450mm.

(x) Front elevation of a palazzo with seven bays in three stories, with ground plan below, on paper, pen-and-ink with grey wash, 415 x 560mm.

(xi) Front elevation of a palazzo with eleven bays and three stories, with arms over the entrance portico, pyramid finals supported by twelve telamones, with ground plan below, on paper, pen-and-ink with grey wash, 440 x 565mm.

(xii) Front elevation of a rotunda, with six sides, ground plan below, on paper, pen-and-ink with grey wash, 480 x 270mm. £6,000 - 8,000 €7,000 - 9,300

A STRIKING AND DECORATIVE GROUP OF BAROQUE ARCHITECTURAL DESIGNS, appearing to originate from one Italian practice, possibly around 1700.

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12 | Bonhams 4 • ARISTOTLE [LE FEVRE (JACQUES D’ETAPLES) Totius philosophiae naturalis paraphrases et familiaris commentarius], notes by J. Clichtoveus, woodcut diagrams (one half-page, others mostly in margins), ruled in red, 4-line initial in blue, green and red on a gold background on aii, capitals in red and blue, chapter and page marks in red and blue, lacks opening leaf, leaf piii with corner cut away causing loss of some words, aii repaired at margins with partial loss of 2 letters in heading, a few small marginal tears or repairs, light stain to 3 leaves, ink annotations in a neat early hand (mostly in margins, extensive on blank verso of final leaf), early calf, covers with central oval blocked in gilt, remnant of early vellum manuscript used as rear free endpaper, 4to (274 x 200mm.), [Paris, Wolfgang Hopyl, 1501] £600 - 800 €700 - 930

5 • ARMENIA Armenia and its neighbouring countries [in Armenian], a very large map by Esayi G. Souk’iasian, printed in colours on linen with text in Armenian, insets of Anatolia and Artsakh (Azerbaijan), 1050 x 1820mm., Nor Jougha [New Julfa, Isfahan], 1933 £800 - 1,000 €930 - 1,200

The map shows the relatively tiny Soviet state of Armenia on a map that includes all the land that at one time or another was under Armenian rule. The map was produced by the Armenian community of New Julfa, the Armenian quarter of Isfahan, established in 1606 following the Persian campaign of Shah Abbas which swept through Ottoman lands to engulf Julfa or Jugna in what is today Nakhchivan.

6 • AUSTEN (JANE) Emma, 3 vol., FIRST EDITION, half-titles in volumes 2 and 3, spotting, one gathering working loose and blank lower margin torn away from advertisement leaf at end of volume 3, one front free endpaper near detached, bookplate of “John Hawkshaw, Esq., Hollycombe”, contemporary half calf, gilt lettering on spines, headbands frayed (volume 2 with small loss at head and foot of backstrip) [Gilson A8; Keynes 8], 8vo, John Murray, 1816 £4,000 - 5,000 €4,600 - 5,800

7 • AUSTRALIA Letters home by John Neal, an immigrant to Australia [on the Utopia] (“...we shall have about 3 hundred on board irish Scotch and all sorts...”), the first letter written from Plymouth before sailing, 19 July 1862, the remainder from Rockhampton, running from 4 January 1863 to 4 July 1868 (“...no cultured land here nothing growing here but trees and a bit of ruf grass in the low places we live in calico houses most of us here i got a few things such as nails & and nocked up one for myself about a mile from the town close to a swamp of fresh water the dray man charges a ½ crown a hogshead to take it to town all kinds of labour goin on here gets good wages but severel out of employ i have no regluer yet but there but there [sic] is some digging started some time back 260 miles up and turned out well till they was drove out for the want of rain they begin to flock up to it again now so things will go better here you may praps think i might go as well but i cannot shift that distance for a trifle i have some funny work since i have been here i have nocking stone a bit...”); with notes and addresses on end-papers (“John Neal/ Miner/ Hunters Gully/ Mornish Digging/ Nr Rockhampton/ Queensland”), nearly 80 pages, written in several of semi-literate hands, diced calf, clasp, ticket of Newcomb, Boston [Lincs], 8vo, 1862-1868 £600 - 800 €700 - 930

An early record of life in Rockhampton, Queensland, officially proclaimed as a town in 1858 after having been visited by the Archer brothers in 1853, with immigration from Britain beginning the following decade following the discovery of gold at nearby Canoona in 1859; or, as John Neal tells his parents and siblings back in England on 4 January 1863, “this is entire a new place 4 years ago since there was no one there except blacks there is plenty of them now i think they expect to make somethink of this place for the streets are quite as wide as in London”. From the variety of hands and the duplication of one letter (announcing the death of his wife), it is clear that this volume comprises transcripts made by his family as his letters came in from Australia – and as such it represents a side of the migrant’s story that is often ignored.

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14 | Bonhams 8 AUSTRALIA Papers of the Courtney and related families, including letters and papers relating to the early settlement of Australia, including:

(i) Autograph letter signed by Charles Budd, from Hobart Town, Van Dieman’s Land, 4 February 1829, to his sister in England, complaining that “Mr H” with whom he is travelling has stopped in Van Dieman’s Land instead of going on to Sydney, and grumbling that he cannot afford the passage back home (“...The country itself is very fine bounding in fish and many sorts of game... we have been visited by the Governor and all the most respectable inhabitants... I propose to get a situation for myself elsewhere as I m sure Mr H and me will never agree...”), with postmarked address panel

(ii) Fifteen autograph letters sent from Sydney between 1836 and 1845 by Edward Courtney of successively the Bank of Australasia and Commercial Bank, Sydney, to his brother and sister-in-law Sydney and Catharine in England, together with the autograph journal of his voyage out to the colony in 1836 (approximately 100 pages, unbound, 4to), the journal describing albatross-shooting and other nautical pursuits, while the letters give news from the commercial wing of the young colony (“...We have been a little surprised with the notification that Sir R. Bourke in a fit of irritation has resigned the governorship of the colony & we are now in fact without a head... Sir Richd Bourke Whig like is determined to enjoy the loaves & fish, to the last moment, for although he has officially resigned yet he continues to receive the emoluments -- & to give some colouring to the affair he is about to visit the distant parts of the colony & starts in the Rattle Snake Sloop of War for Port Phillip in a few days...”); plus a later letter from Melbourne, with letters by other members of the family from St Helena (1836), Cape Town and elsewhere, most in envelopes bearing postmarks

(iii) Gold rush journal kept by Alexander Burnett in 1852, prefaced: “Remarks on a Voyage from England to Sydney, N.S. Wales commencing on the 2nd January 1852 being the day of our departure from Aberdeen to Leith, thence to London by Steamer; and then by the good Ship Euphrates from the London Dock to Sydney thence to Majors Creek, to have a cut at the diggins there, and our proceeding at the creek for the months of July and August” (“...doing nothing at the diggins to day, it is easy getting fire wood here having nothing to do but cross cut... one of the diggins on the new ground found a nugget 10oz in weight, being the largest found on the diggin in this quarter he was offered 5D for it, but refused, directly after the word broke out the whole place was taken out in claim over the whole hill, but I dont think it will prove profitable to all, we at least wont try it this month at any rate. Wednesday 4th Thursday & Friday doing little, at noon on Friday our new chum Mr Shepherd gave it up for a bad job, gold diggin did not seem to suit his taste, and if he continued much longer at it, he would be a dead man to use his own words...”), nearly 90 pages, a third of which are devoted to their gold mining venture, disbound, some pencil entries over-written in ink, 8vo

(iv) A grant signed by George III (fine large signature) of two-thirds of the prize San Cristoforo to the captain, officers and crew of the Anson “lately acting the Orders of the late Lord Viscount Nelson”, 27 May 1806, commission signed by George III (with late ill-formed signature), appointing Jonathan Courtney apothecary to HM forces 1809 (docketed by William Blake’s patron Thomas Butts), and other material, much of which relates to the history of the family £3,000 - 4,000 €3,500 - 4,600

9 • BARROW (JOHN) A Voyage to Cochinchina, in the Years 1792 and 1793... with Sketches of the Manners, Character, and Condition of their Several Inhabitants. To which is Annexed an Account of a Journey... to the Residence of the Chief of the Booshuana Nation, 19 hand-coloured aquatint plates (one folding), 2 folding engraved maps and charts (one hand-coloured, one hand-coloured in outline, offsetting), without half-title, bookplate of Sir Joseph Verdin, contemporary calf gilt, rebacked [Abbey, Travel 514; Cordier, Sinica 2390; Lust 366], 4to, T. Cadell and W. Davies, 1806 £800 - 1,000 €930 - 1,200

10 • BERNARDUS Claravallensis Sermones de tempore et de sanctis una cum homiliis et epistolis, 232 leaves including the final blank, 48 lines and headline, double column, Gothic type, woodcut and printer’s device on title, printer’s device at end, woodcut initials, title with ownership inscription “Monasterij S. Pauli”, title and preliminaries badly stained, less severely so throughout remainder, several blindstamps in margins, contemporary blindstamped quarter calf over wooden boards (one restored, the other with hasps), spine torn without loss and loose, later lettering [ISTC ib00440000; BMC V 540; GW 3945; Goff B440; HC 2849; IGI 1560], small 4to (255 x 155mm.), Venice, Johannes Emericus de Spira, for Lucantonio Giunta, 12 March 1495 £1,000 - 1,500 €1,200 - 1,700

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11 • BIBLE, in English, Bishop’s version [The Holie Bible], 5 parts in one, black letter, double column, 4 part titles (that for New Testament with full-page decorative border), woodcut illustrations (one full-page) in the text, calendar printed in red and black, lacks 15 leaves (general title and 4 preliminaries, folio 78 of part 3, folio 89, and final 9 leaves of New Testament), cropping with loss to some side-notes and text at lower margins, approximately 20 leaves with tears or some loss (4 with substantial loss, final 10 leaves frayed at edges), early calf over wooden boards, very worn, lower cover detached [Herbert 125; STC 2099], folio (360 x 260mm.), [Richard Jugge, 1568] £2,000 - 4,000 €2,300 - 4,600

First edition of the so-called ‘Bishop’s Bible’ version, Matthew Parker’s revision of the Great Bible version. “In typography and illustration this is perhaps the most sumptuous in the long series of folio English Bibles” (Herbert).

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12 • BINION (SAMUEL AUGUSTUS) Ancient Egypt or Mizraim, 2 vol., FIRST EDITION, NUMBER 300 OF 800 EDITION DE LUXE COPIES, pictorial titles designed by H.T. Koerner, 72 plates (including 45 chromolithographs or tinted lithographs), publisher’s half morocco, gilt lettered “Mizraim” on upper covers, g.e., covers detached [Blackmer 143; not in Atabey or Hilmy], large folio, New York, Henry G. Allen, [1887] £1,000 - 1,500 €1,200 - 1,700

An important landmark in American chromolithography, illustrated with large plates derived from David Roberts’ Egypt and the Holy Land, Prisse d’Avennes’ Oriental Album, Lepsius’ Denkmaler aus Agypten und Athiopen, and Description de l’Egypte.

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13 • BOOK OF HOURS, Use of Rome Hore beate Marie viginis secu[n]du[m] usu[m] Romanum, on vellum, 139 leaves (of 140, lacks ?M8), 21 lines, Gothic letter, calendar for 1507-1527, large device on title, metal cut of Anatomical man on aii, 18 full-page woodcut illustrations, all leaves within ornamental or historiated borders, ILLUMINATED INITIALS AND LINE- FILLERS in gold on alternating red and blue grounds throughout, bookplate of Edward Arnold ‘by M.M.’, blindstamped morocco by Holloway, g.e. [Bohatta 845], 8vo, Paris, Simon Vostre, 1507 £2,000 - 3,000 €2,300 - 3,500

14 • BOOK OF HOURS, Use of Rome Hor[a]e dive virginis Marie sedm veru[m] usum Romanu[m], on paper, 106 leaves (of 108, lacks B8 & K8), 26 lines, Roman letter, printed in red and black, large printer’s device on title with metal cut of the Anatomical man on the verso, 16 full-page illustrations, smaller illustrations in the text, all leaves within ornamental or historiated borders, nineteenth-century ownership inscription of Edmund Waterton, contemporary French blindstamped calf, rebacked preserving spine, remains of later metal clasps [cf. Bohatta 927], 8vo, [Paris], Thielman Kerver, [5 April, 1511] £600 - 800 €700 - 930

15 • [BOSWELL (JAMES)] Ode by Dr. Samuel Johnson to Mrs. Thrale, upon their Supposed Approaching Nuptials, first edition, 16 pages (including half-title), slight browning at edges, original stab holes visible, untrimmed in modern red crushed morocco (by ‘A.B.’, signed on rear turn-in), blind-tooled cornerpieces on sides, raised spine bands [Pottle 72; Rothschild 460], 4to (257 x 205mm.), Printed for R. Faulder, 1784 [i.e. 1788] £3,000 - 4,000 €3,500 - 4,600

FIRST AND ONLY EDITION OF THIS RARE CURIOSITY. The ode must have been printed in 1788, probably at Boswell’s own expense, since it was written in retaliation to Mrs. Piozzi’s Letters to and From the Late Samuel Johnson of that year, which is quoted in the Preface. Boswell no doubt thought he should have figured more prominently, and had come to resent Mrs Piozzi’s influence on Johnson.

The ode’s composition in fact dates back to an evening spent at Sir Joshua Reynolds’s on 12 April 1781, just eight days after Henry Thrale’s death on 4 April 1781, and the day after his burial. Encouraged by Reynolds, Boswell composed a “song’ (‘Epithal[amium] on Dr. J. & Mrs. Y.’, the manuscript surviving as Yale Ms. 302), which he went on to recite at other parties. This was the basis for the ode, a parody of Johnson’s verse (Boswell had the effrontery to print three stanzas of the ode in a footnote to the second edition of his Life of Johnson, in a passage about parodies of Johnson), whilst the Preface, with its broad double meanings and high-flown language, is written in imitation of Mrs Piozzi’s own style in her Anecdotes.

In the event, the joke seems to have fallen rather flat, since neither Mrs Piozzi or the public paid it great attention. After publication, Boswell must have taken back the unsold sheets from Faulder which emerged from Auchinleck, much ‘injured by dirt and damp,’ during a sale in 1825 (J.W. Reed and F.A. Pottle, Boswell, Laird of Auchinleck, 1778-1782, 1993, p.138).

Provenance: from the Library of Professor Timothy Smiley, previously purchased from J. Clarke-Hall in 1976.

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20 | Bonhams 16 16 • BOWYER (ROBERT, publisher) An Illustrated Record of Important Events in the Annals of Europe, During the Years 1812, 1813, 1814, & 1815. Comprising a Series of Views of Paris, Moscow, the Kremlin, Dresdene, Berlin, the Battles of Leipsic, Etc., 19 hand-coloured aquatint plates (4 double-page, 2 strengthened at fold, one with short tear repaired touching image), one engraved map, 3 engraved plates (2 of portraits, one fac-simile signatures), some text and plates watermarked “J. Whatman, 1811”, small repair to blank fore-margin of title and 4 text leaves, 1815; The Campaign of Waterloo, 6 views on 4 hand-coloured aquatint plates (one folding, short tear and strengthened at fold), one engraved plate, one illustration in the text, 1816, 2 works bound in one vol., bookplate of the Earl of Fife, contemporary calf, rebacked retaining gilt morocco spine label [Abbey, Life 352, 354], folio, T. Bensley, for R. Bowyer £2,000 - 3,000 €2,300 - 3,500

Includes fine hand-coloured views of Moscow (2), Smolensk, Berlin, Hamburg, Dresden, Paris, Frankfurt, Leipzig, The Hague, Amsterdam, and the battefield at Waterloo.

17 • [CALANDRI (FILIPPO) Aritmetica], first edition, 88 leaves (of 104), 26 lines, Gothic letter, 12 pages within decorative borders, 15 small vignettes (some repeats), several diagrams, several leaves cropped (mostly blank, but including some signatures), loose in later vellum, preserved in cloth case [ISTC ic00034000; BMC VI 681; Goff C-34; GW5884; HCR 4234; Riccardi I 208], 8vo (129 x 100mm.), [Florence, Lorenzo de Morgiani, and Johannes Petri, 1 January 1491/92] £1,000 - 2,000 €1,200 - 2,300

The first edition of the first Italian arithmetic book with woodcut illustrations.

18 • CHAUCER (GEOFFREY) The Workes of Our Ancient and Learned English Poet, first Speight edition, black letter, double column, title within wide architectural border, 3 parts titles within wide historiated borders, full-page arms on verso of A6, woodcut illustration of the Knight at the head of the text, lacks the engraved portrait, errata leaf and 2 blanks, general title cut to size and laid down (but otherwise good margins), light browning, short tear repaired to margin of one leaf, modern calf [STC 5078; Pforzheimer 177, variant imprint], folio, Adam Islip, at the charges of Bonham Norton, 1598 £800 - 1,000 €930 - 1,200

“This is the first edition edited by Spe[i]ght who had the assistance of John Stowe, Francis Thynne, Francis Beaumont, the elder, and Robert Glover. The most remarkable feature of this edition if the glossary which was largely the editor’s production...” (Pforzheimer).

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22 | Bonhams 19 • CHIPPENDALE (THOMAS) The Gentleman and Cabinet-Maker’s Director. Being a Large Collection of the Most Elegant and Useful Designs of Hous[e]hold Furniture in the Gothic, Chinese, and Modern Taste, first edition, title printed in red and black, engraved dedication leaf, 161 engraved plates, list of subscribers, plate 11 with short tear just inside platemark, half-title, title and final plate creased, untrimmed with slight softening to lower fore-corner, contemporary tree calf gilt, folio (390 x 300mm.), for the Author, 1754 £2,000 - 3,000 €2,300 - 3,500

First edition of Chippendale’s hugely influential furniture pattern book, copies “of which, as the dual appeal of the title intended, were acquired by the nobility, gentry, and many fellow tradesmen” (ODNB).

20 • [CHURCHE (ROOKE)] An Olde Thrift Newly Revived. Wherein is Declared the Manner of Planting, Preserving and Husbanding Yong Trees of Divers Kindes for Timber and Fuell. And of Sowing Acornes, Chesnuts, Beech-mast, the Seedes of Elmes... Discoursed in Dialogue betweene a Surveyour, Woodward, Gentleman, and a Farmer. Divided into Four Parts, by R.C., first edition, black letter, one folding wood-engraved plate, without initial blank, one side- note shaved (F2), title dust-soiled, nineteenth century calf, gilt lettered on spine [STC 4923; Henrey 29; not in Goldsmiths or Kress], small 4to, Printed by W.S. for Richard Moore, 1612 £800 - 1,200 €930 - 1,400

21 • CHURCHILL (AWNSHAM and JOHN) A Collection of Voyages and Travels, Some Now First Printed from Original Manuscripts, 6 vol., first edition, imprimatur leaf in volume one, 2 additional engraved titles, 2 portraits, 159 engraved plates, maps and plans only (some double-page or folding), numerous engraved illustrations and maps (several full-page) in the text, one additional title and frontispiece laid down, 2 plates shaved, a few short tears, contemporary panelled calf, volume 2 not uniform but rebacked to match [Sabin 13015], small folio, Awnsham and John Churchill, 1704- 1732, sold not subject to return £1,500 - 2,000 €1,700 - 2,300

22 CROMWELL (THOMAS) Letter signed and subscribed (“Your lovyng assuryd ffreend/ Thomas Crumwell”), to Dr Nicholas Wotton, English delegate to Cleves, expressing considerable impatience on behalf of both the King and Council and urging him to secure an answer from the Duke of Cleves ratifying the marriage between the King and Anne of Cleves; telling that the King and his Council “doo not a lytle muse and marvayl” that he has secured no answer from the Duke as to how he and the Ambassadors from Cleves [already in England] take “the conclusion of the Mariage”, now that the “the tyme of the ratification approcheth”, the text in the secretary hand of a Royal Chancery scribe, 2 pages, trace of seal, address leaf detached, holed, paper-losses with later restoration to the lower third section, affecting the last seven lines of text and subscription and touching on the signature, further dust- or damp-staining, traces of former sewing into a volume, folio, London, [8 November, 1539] £4,000 - 6,000 €4,600 - 7,000

‘THE CONCLUSION OF THE MARIAGE’: THOMAS CROMWELL PRESSES FOR RATIFICATION OF HENRY VIII’S MARRIAGE TO ANNE OF CLEVES – the principal cause of his downfall and execution less than nine months later. It has by tradition been thought that Cromwell advanced this marriage in order to consolidate the English Reformation: ‘In March, Nicholas Wotton and Richard Beard began the negotiations at Cleves but were frustrated by the stalling tactics of Wilhelm, who was still attempting to conciliate the emperor. By late summer the ambassadors had achieved success, and Hans Holbein the younger was commissioned to paint a portrait of Anne, which Wotton swore was a faithful representation of her. Many contemporaries, including Wotton, praised her beauty’ (Retha M. Warnicke, ‘Anne of Cleves’, ODNB). By 4 October a marriage treaty was signed in London by the Cleves ambassadors. It remained for Wotton only to make final arrangements in Cleves. After further prevarication on the Duke’s part, Anne of Cleves eventually departed for England, arriving at Dover on 27 December: ‘On New Year’s day 1540 the king caught his first glimpse of her at Rochester. However, it was immediately obvious that she was not the beauty Holbein had portrayed, and Henry found her physically repulsive. The wedding ceremony on 6 January at Greenwich was unavoidable and Cromwell took the blame... Cromwell’s fall cannot be attributed to any one mistake or decision, although the Cleves marriage was the single most important factor in undermining the king’s confidence in him. It was also a problem particularly difficult for Cromwell to resolve, as Henry’s divorce from Anne would only lead to the king’s marrying Norfolk’s niece, Katherine Howard, thereby further threatening the minister’s position’ (Howard Leithead, ‘Thomas Cromwell’, ODNB).

This letter is a duplicate – signed by Cromwell – of the letter sold in these rooms, 25 May 2012, lot 55, and shares its provenance. In all, only some 350 letters by Cromwell are known, nearly all of which are in institutional collections, principally the National Archives and the British Library.

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24 | Bonhams 23 CROMWELL (OLIVER) Letter signed, as Lord Protector (“Oliver P”), to the Commissioners for Securing the Peace of the Commonwealth for the County of Somerset, ordering them to discontinue the Decimation Tax; the letter opening: “Gentlemen,/ You having been authorized and empowered by orders and Instructions from Us and our Counsell, to assesse and leavy upon the late Kings party, a Tenth of their real and personall Estates, towards the defraying the extraordinary charges of the Commonwealth, and to doe some other things upon the grounds expressed in our Declaration exhibited in that behalfe, Wee have thought fit, to let you know, That these proceedings having been only in a tyme of necessity, and when the Nation was in an unsettled condition, cannot bee now longer continued without consent of parlament, And therefore wee iudge it necessary That You desist from any further acting upon the said orders & Instructions, untill other directions shalbe given therein by Us, and the Parlam.t, who before their recesse had it in their Consideration by what meanes to provide for the further secureing the Nation against the said party, and Wee doubt not, upon their retorne will doe something effectuall therein”; meanwhile congratulating them on their vigilance and care (“...Wee cannot omitt to take notice of the zeale and faithfulnes to the Common Cause which You have shewed in that tyme of emment danger by acting soe cherefully, and w.th soe great diligence upon the said orders & Instructions... Wee shall alwayes have a gratefull remembrance and looke upon You as those who have a truelove to the good of their Country...”); ending: “as for these Forces w.ch were raised for the comon safety and carrying on soe good a worke, Wee doe hold our selfe obliged not only to take Care for the payment of their arreares, but to provide for their future security”, he concludes by bidding them “heartily farewell” and subscribes himself their “very affectionate Friend”; with integral leaf addressed to “The Commissioners for secureing/ the peace of the Commonwealth/ County of Somerset” with papered armorial seal of the Lord Protector, 1 page, dust-staining and other minor wear, especially at fold and edges, paper-losses to address leaf (detached), but nevertheless overall in sound and attractive condition, folio, Whitehall, 28 July 1657 £6,000 - 8,000 €7,000 - 9,300

CROMWELL REVOKES THE DECIMATION TAX ‘UPON THE LATE KINGS PARTY’, AND BRINGS THE MILITARY RULE OF THE MAJOR GENERALS TO AN END – this is one of the most important letters of state by Cromwell to have been offered for sale. It is recorded by Abbott, who points out that copies were presumably sent to other counties (although none survive), but Abbott’s summary of our letter is taken from an auction catalogue which reverses its meaning: ‘To the Commissioners for securing the peace of the Commonwealth in the County of Sussex/ (Substance only)/ To assess and levy upon the late King’s party a tenth of their real and personal estate./ Whitehall, July 28, 1657./ Oliver P.’ (Writings and Speeches of Oliver Cromwell, iv, 1947, pp. 587-8; Sotheby’s, libraries of E.W. Hope Johnstone and others, 6-7 July 1931, lot 149). The rediscovery of this, the original, could therefore be said, in something of a literal sense, to rewrite history.

The rule of the Major-Generals was introduced in the autumn of 1655 following the royalist rising under Colonel Penruddock in the west of England. Nineteen Major-Generals and Deputy Major-Generals were appointed to administer ten regional associations: ‘In the wake of Penruddock’s rising the major-generals’ primary task was to provide security against future unrest. To this end they were given wide powers to disarm Roman Catholics and to prevent meetings of disaffected gentry at horse races and other gatherings; and they commanded newly raised militia units paid for by a “decimation” tax levied from the estates of local royalists. They were also given the job of imposing “godly” rule across the country, upholding law and order, and punishing drunkenness, blasphemy, and other moral failings... The religious zeal of the major-generals, coupled with their attempt to impose godly rule on England and Wales, has given them a lasting reputation as po-faced puritans and killjoys, and this reputation has attached itself to the Cromwellian regime as a whole’ (Patrick Little, ‘Major-Generals’, ODNB).

Each county within an association maintained its nominally civilian administration, in the form of Commissioners for Securing the Peace of the Commonwealth, it being their responsibility – as our letter makes plain – to raise the Decimation Tax and maintain the mounted militia upon which the rule of the Major-Generals depended. Somerset had to maintain two troops of militia and fell within the purlieu of Cromwell’s brother-in-law John Desborough, or Disbrowe, who was in command of the south-west of England (Gloucestershire, Wiltshire, Somerset, Dorset, Devon, and Cornwall). It seems however that the Somerset Commissioners may not have been entirely typical: ‘At the beginning of 1656, William Orum, a steward to the marquis of Hertford, claimed in a letter to a friend that the Somerset commissioners were keen to “act mildly” towards their royalist neighbours and were accepting without question drastic underestimates of the value of their estates. In the absence of corroborating evidence, it is impossible to know whether or not this was true; but if it was, it certainly did not reflect the situation in other parts of the country, where many of their counterparts were anxious to maximise the yield from the tax and, as one of Sir Edward Nicholas’s informants puts it, were “very severe in exacting the tenths”... In Essex the commissioners even decimated their major- general’s elder brother, Robert Haynes’ (Christopher Durston, Cromwell’s Major-Generals: Godly Government During the English Revolution, 2001, p. 105).

However by the time Cromwell wrote our letter, the experiment had already been abandoned. Our letter closes the door on the ill-fated enterprise. John Desborough – no less – had introduced the Militia Bill into Parliament which would have perpetuated the Decimation Tax on 29 January 1657. It was roundly defeated, very probably with Cromwell’s connivance, by a vote of 124 to 88. And having refused the kingship, Cromwell was reinstalled as Lord Protector that June under the terms of the amended Humble Petition and Advice.

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24 • [D’ESPAGNE (JEAN)] Antiduello: or, a Treatise, in which is Discussed the Lawfulnesse and Unlawfulneses of Single Combats, woodcut device on title, with the folding engraved plate entitled ‘Conquerir ou mourir’ (absent in most copies according to ESTC, here torn without loss of image, 2 letters of caption shaved) [STC 10531], Thomas Harper, for Benjamin Fisher, 1632--A Letter Written by a French Gent: of the King of Bohemia his Army: concerning the Emperour Ferdinand his Embassage into France. Translated out of the French Coppie, [STC 10812], Printed at Flushing [i.e. London], 1620--RUDOLF II and MATTHIAS, Holy Roman Emperors and Kings of Bavaria. Pro libero exercitio religionis Augustanae confessionis in Silesia [etc], 3 parts, [see VD17 12:205247Y for a similar copy], no place or publisher, 1609--OXENSTIERNA (AXEL GUSTAVSSON) Literae... Ad Ill. Ordines Poloniae, woodcut device on title, apparently incomplete [12 leaves only, but cf. VD17 14:083458M, copy with only 8 leaves), [Danzig], 1631--FERDINAND II, Holy Roman Emperor, King of Bohemia and Hungary. Literae interceptae, ex autographis transcriptae, ad eadem summa fide recensitae, & in usum reipublicae christianae publicatae, text in Italian, Latin and German, F1-2 cropped affecting side-notes, no place, 1622--Der Hoch-teutschen Morgen wecker: In welchem alle päpstliche und des Papstes anhangs Practicken wider die teutschen Stätte, die Cronen Engelland, Dennemarck und Schweden, title cropped with loss of first line, edges frayed, no place, 1628, together 6 works in one vol., occasional old ink underscoring and marginalia, the last work detached, contemporary limp vellum, soiled and stained, vellum ties defective, small 4to £1,000 - 1,500 €1,200 - 1,700

An intriguing ‘sammelband’, grouping Jean D’Espagne’s scarce treatise on duelling with several rare tracts relating to Bohemia and the Thirty Years’ War, printed in various countries.

25 • DANIELL (THOMAS AND WILLIAM) A Picturesque Voyage to India; by the Way of China, 50 hand-coloured aquatint plates within wash borders, ALL ON STIFF CARD, mounted on stubs (some spotting, quite heavy on approximately 6 plates), text watermarked between 1808 and 1817, contemporary half calf, rebacked preserving original spine, upper joint cracked [Abbey Travel 516; Tooley 173; Colas 797], folio, Longman, 1810 £3,000 - 4,000 €3,500 - 4,600

Leaving England on the Indiaman Atlas in April 1785, the Daniells arrived in China in August, where they spent several months before sailing onwards to India. Amongst the plates are 24 of Chinese interest, including views of Macao, Canton, Whampoa and Hotun on the Canton river, general views of Chinese vessels, and the dress of the inhabitants.

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26 • DANIELL (WILLIAM) A Voyage Round Great Britain, Undertaken in the Summer of the Year 1813, and Commencing From the Land’s-End in Cornwall, by Richard Ayton, With a Series of Views Illustrative of the Character and Prominent Features of the Coast, 8 vol. in 4, FIRST EDITION, 308 hand-coloured aquatint plates, with pale grey wash borders, aquatint dedication leaf, one additional engraved plate with tint wash in volume one, engraved folding map, occasional moderate spotting and offsetting, bookplates of Christopher Turnor (Stoke Rochford Library) and Hermann Marx, contemporary red straight-grained morocco gilt, g.e., extremities lightly rubbed [Abbey Scenery 16; Tooley 177], 4to (360 x 260mm.), Longman, 1814-1825 £10,000 - 15,000 €12,000 - 17,000

A TALL COPY IN A HANDSOME BINDING. “A magnificent series of plates, almost all of equal quality. Valuable as a record and exquisite in its presentation. The most important colour plate book on British topography” (Tooley).

27 DARWIN (CHARLES), ROBERT FITZROY and PHILIP PARKER KING Narrative of the Surveying Voyages of His Majesty’s Ships Adventure and Beagle, between the Years 1826 and 1836, describing the Examination of the Southern Shores of South America, and the Beagle’s Circumnavigation of the Globe, 4 vol. (including Appendix to volume 2), FIRST EDITION, FIRST ISSUE of volume 3, 9 folding maps by J. Gardner and J. and C. Walker, 47 etched plates after P.P. King, A. Earle, C. Martens, R. Fitzroy and others by T. Landseer, S. Bull, T.A. Prior and others, some light browning and soiling, plates with occasional offsetting and one or two imprints cropped, the maps all laid on linen and bound in to the volumes (the first with slight stain and fraying at edges), modern green half morocco gilt, red morocco spine labels [Freeman 10; Sabin 37826; Norman 584; Hill I, pp.104-5], 8vo (218 x 135mm.), Henry Colburn, 1839 £6,000 - 8,000 €7,000 - 9,300

A HANDSOME SET OF THE FIRST ISSUE. This set is complete, but with the eight maps all bound in to the relevant volume rather than loose in pockets as issued.

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30 | Bonhams 28 • DIGGES (THOMAS) An Arithmetical Warlike Treatise Named Stratioticos Compendiously Teaching the Science of Nombers as Well as Fractions as Integers, and So Much of the Rules and Aequations Algebricall, and Art of Nombers Corsicall, black letter, full-page coat-of-arms on verso of title (shaved at fore-margin), 2 folding wood-engraved plates (neat short tear to one), diagrams in the text, woodcut arms and colophon at end, without final blank, ownership inscription of “Henry White, Close, Lichfield, June XIV, MDCCCXI” on front paste-down, nineteenth century diced calf, rubbed [STC 6849, ours variant with colon after “Leicester”], small 4to, Richard Field, 1500 [but 1590] £1,000 - 1,500 €1,200 - 1,700

An important treatise on military mathematics, first published in 1579, in which Thomas Digges (c.1546-1595) adapted “elementary algebra for use by soldiers... [and provides] a lengthy treatment of the qualities and roles of all the ranks of men in an army” (ODNB). The first book on arithmetic was based on manuscript material by Thomas’ father Leonard Digges.

29 • EUCLID BYRNE (OLIVER) The First Six Books of the Elements of Euclid in Which Coloured Diagrams and Symbols Are Used Instead of Letters for the Greater Ease of Learners, half-title, diagrams printed in red, blue, yellow and black throughout, spotting and some marginal dampstaining, contemporary half calf, worn [McLean, Victorian Book Design, p.70], 4to, [Chiswick Press] for William Pickering, 1847 £1,500 - 2,000 €1,700 - 2,300

30 • FLORIANI (PIETRO PAOLO) Difesa et offesa delle piazze, second impression, engraved title within wide pictorial border, engraved portrait of the author, 43 engraved plates of fortifications (of 44), large folding engraved plan (with tear repaired), engraved illustrations in the text [Cockle 825], Venice, Francesco Baba, 1654; SARDI (PIETRO) L’artiglieria... divisa in tre libri, FIRST EDITION, engraved pictorial title (incorporating a portrait of the author, shaved to rule border on lower margin), 9 engraved plates (several folding, one frayed at margins), 18 engraved illustrations in the text (2 shaved at fore-margin), Venice, Giovanni Guerrigli, 1621, 2 works bound in one vol., some light soiling and dampstaining (mainly to second mentioned work), early ownership inscription “Questo libro è di me Filippo Caissone Fonditore nizza l’anno del Sig. 1679” on front free endpaper, early vellum, metal cornerpieces (one missing), bosses, clasps and catches, light stains and rubbing, folio £800 - 1,200 €930 - 1,400

31 • FOSSE (CHARLES) Idées d’un militaire pour la disposition des troupes confiées aus jeunes officiers dans la défense et l’attaque des petits postes, first edition, half-title, woodcut vignette on title, colour-printed arms on dedication leaf, 11 engraved maps and plans printed in colours by Louis Marin Bonnet (10 double-page, all cut down without loss of image and mounted on stubs), contemporary French calf, spine gilt with red morocco lettering label, sides scuffed [Brunet II 1354, “ouvrage estimé”; Graesse II 620], 4to, Paris, Alexandre Jombert, 1783 £1,000 - 1,500 €1,200 - 1,700

A treatise on military fortifications, with a section devoted to the best techniques for producing coloured military maps and charts, attractively demonstrated in a series of colour-printed plates by Louis Marin Bonnet (1736-1793), a French artist who perfected a method of crayon-manner etching intended to imitate the tones and depth of pastels.

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32 | Bonhams 32 • GALLIARI (GASPARE) An album of 67 prints after theatre designs by Gaspare Galliari, Francesco Fontanesco, Pietro Gonzaga, Lodovico Pozzetti and Alessandro Sanquirico, mostly aquatints or etchings, 38 larger views, others joined two to a page (to match size of album, some trimmed within platemark, a few of the Galliari images remargined), nineteenth-century quarter morocco, gilt lettered “Invenzioni teatrali” on spine, short tear at foot of spine, blue edges, folio (585 x 445mm.), [Milan, c.1800-1820], sold as a collection of plates £3,000 - 4,000 €3,500 - 4,600

A fine series of stage designs by Galliari and other important Italian theatre designers connected with La Scala, in Milan. The 38 large plates comprise: GALLIERI (GASPARE) “Numero XXIV invenzioni teatrali”, hand- coloured engraved pictorial title, 10 sepia aquatint plates (of 24), Milan, 1803; one uncaptioned hand-coloured aquatint of a stage design ?after Galliari; FONTANESI (FRANCESCO) and LUDOVICO POZZETTI. A series of 17 sepia aquatint plates (nos. 1-5, and 7-18), Milan, Bettali, [c.1801]; 2 sepia aquatints (“Carcere” and “Ampia volta”) by Carolo Zucchi after Frencesco Fontanesi, [?Milan, c.1801]; GONZAGA (PIETRO) A series of 7 large etched plates by Luigi Rados after Gonzaga, 2 unsigned, all but one proofs before the addition of aquatint, [Milan, Gaspare Galliari, n.d.]. The 29 smaller prints include 4 hand-coloured aquatints by Zucchi after Galliari (numbered 1-4), and a number of scenes (one of a courtyard, printed in red with pencil additions) after Sanquirico.

33 GEORGE III Letter signed (“George R”) and subscribed, in French, to Wilhelm Frederick, King of Prussia, accrediting the bearer, “le Sieur Hammond, Mon Sous Sécrétaire d’Etat, au Departement des Affaires etrangères, lequel J’ai chargé d’une Mission extraordinaire auprès de Votre Majesté”; integral address leaf bearing two seals in red wax with ends of red silk ties, 1 page, plus integral address leaf, gilt edges, in fine fresh and attractive condition, 4to, St James, 30 July 1796 £400 - 600 €460 - 700

SIGNED BY A RELUCTANT GEORGE III ON BEHALF OF HIS FORMER MINISTER TO THE UNITED STATES. The bearer of this letter, George Hammond, had returned to England after serving as the first British Minister to the United States of America in 1795. He was then promoted by George Grenville, the Foreign Secretary, to act his senior Under-Secretary with George Canning serving as the second. Meanwhile, faced with Napoleon’s victories in Italy and the Rhineland, Pitt’s First Coalition was facing collapse. Grenville, keen on an alliance with Prussia, proposed that her support could be ensured by giving her a free hand in annexing either of the Belgic provinces or extensive domains in Germany; a plan that was turned down by George III with the cutting observation that ‘Italian politics are too complicated for my understanding’. Nevertheless, as Ward puts it, the British Cabinet was in its desperation ‘prepared to act on the degrading principle of gaining the help of a powerful State by conniving at its annexation of a week neighbour’ (Cambridge History of British Foreign Policy, ii, p. 267). Hammond, as per our letter, was therefore despatched to Berlin, with George III’s reluctant agreement. But he had no luck. For when he got to Berlin, he discovered that the King was away and nothing could be done in his absence. So he let the matter drop.

34 GEORGE IV and BRAZIL Commission, signed at the head (“George R”) and bearing the Great Seal, appointing Ralph Abercrombie Secretary to the “Special and Extraordinary Mission to Our Good Brother The Emperor of Brazil”, led by Viscount Strangford; bearing a good impression of the Great Seal in light brown wax attached by red and silver plaited threads and tassels, hinged tin skippet; docketed “Ralph Abercromby, Esquire/ Commission”, on one sheet of vellum, some dust-stains in upper left-hand border, dust-staining on verso, c.85 x 580mm., Windsor Castle, 19 August 1828 £400 - 600 €460 - 700

Brazil had declared independence two years earlier. Robert Gordon was appointed first Ambassador, with Lord Strangford being sent on a special mission two years later, as per the present commission. One of his earliest postings had been to the Portuguese Court in Brazil, resulting in the Strangford Treaty, allowing for trade between Britain and Brazil. The 1828 mission was to be his last. According to the ODNB, this was Strangford’s last posting, in which he displayed ‘cunning and resource’. Our commission is for the mission’s official Secretary, Ralph Abercromby. He was the famous general, Sir Ralph, and son of the first Baron Dunfermline, succeeding to his title in 1858. He was to be appointed KCB in 1851.

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34 | Bonhams 35 • GIBBON (EDWARD) [BUAT-NANCY (LOUIS GABRIEL)] Les origines, ou l’ancien gouvernement, de la France, de l’Allemagne et de l’Italie, 4 vol., EDWARD GIBBON’S COPY, WITH HIS BOOKPLATE IN EACH VOLUME, and his book label (“E Gibbon”) in volume one, contemporary calf, red and blue morocco labels, worn, 8vo, The Hague, [no publisher], 1757 £400 - 600 €460 - 700

FROM THE LIBRARY OF EDWARD GIBBON. Each volume has the first version of Edward Gibbon’s bookplate, and volume one his “primitive looking label” (Keynes). There is a lengthy section concerning the plates, with images, in Keynes, The Library of Edward Gibbon (second edition, 1980, pp.33-35), which does not record this title.

36 • GUILLERMUS ALVERNUS, Episcopus Parisiensis Opera [edited by Petrus Danhauser and Johann Rosenbach], 281 leaves (of 282, lacks title), opening leaf with author’s name “Guillelmus Parisienis” in ink in upper margin and lower blank margin cut away, small ink spill touching a few letters of gathering gg, [after 31 March, 1496]; De sacramentis. Cur deus homo. De Poenitentia, 136 leaves, short tear to folio CXXXI, paper flaw to blank margin of approximately 5 leaves, [not after 1497]; De universo pars primo, 149 leaves (of 151, lacks 2Yiv-v), 2 gatherings slightly shorter at lower margin, [not after 1497], 3 works bound in one vol., all with 54 lines and headline, Gothic letter, double column, Lombardic capital in the title, capital spaces with guide-letters, capitals, paragraph marks, etc. in alternating red and blue, with several 6- or 8-line capitals, a few early ink annotations in margins, early blindstamped calf over wooden boards, rebacked in early sheep, worn, spine repaired with tape at head [ISTC ig00708000, ig00716500, ig00717000; BMC II 470; Goff G708, G723, G717; GW 11862, 11869, 11870; HC 8300*; 8316*, 8319*], folio (280 x 200mm.), [Nuremburg, Georg Stuchs] £1,000 - 2,000 €1,200 - 2,300

37 • GUILLIMANN (FRANCOIS) De rebus Helvetiorum, sive antiquitatum libri V, first edition, woodcut device on title, errata leaf at end, contemporary calf gilt, with arms of Jacques de la Guesle (1557-1612) on covers, g.e., neatly refurbished at joints and one corner, small 4to, Fribourg (Switzerland), Ex officina typographia M. Wilhelm Maess, 1598 £600 - 800 €700 - 930

Provenance: Jacques de la Guesle (1557-1612), with super libris; Albert Pezold, with his neat ownership inscription dated 1636 on title; bookplate with initials “C.W.G.U.N.”; Albert Ehrmann (1890-1969), with bookplate (not included in Ehrmann sale, Sotheby’s, 1977).

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34 | Bonhams 38 * HENRY VIII Initial letter portrait of Henry VIII, showing the crowned King enthroned holding orb and sceptre, on a grant to John Wyberd of High Ongar, Essex, of Trinity Marsh, formerly belonging to Stratford Langthorne Abbey, the portrait finely executed in pen-and-ink and grey wash, the canopy headed “Vivat Rex”, with elaborate strapwork majuscules to first line, ascenders interspersed with heraldic emblems; with a good intact impression of the Great Seal in brown wax suspended by green silk cords; auditor’s endorsement of Thomas Wyseman, one membrane of vellum, minor dust-staining and rubbing but overall in fine fresh and attractive condition, 415 x 690mm, Westminster, 26 November 1540 £5,000 - 6,000 €5,800 - 7,000

PORTRAIT AND SEAL OF HENRY VIII ON A GRANT OF FORMER MONASTERY LAND: this most attractive deed dates from just two years after the dissolution of the great Cistercian Abbey of St Mary, Stratford Langthorne, Essex (also known as West Ham Abbey). Situated in present-day Stratford and owning most of Newnham as well as extensive lands in Essex, it had been founded in 1135 and was at the time of its dissolution the fifth largest in England, ranking with its sisters at Rievaulx and Fountains.

39 HERALDRY Illuminated tree of the Aucher and related families, with evidences tracing the genealogy of Sir Anthony Aucher of Hautsborne, Kent, and his descendants, illuminated in the Jacobean manner on seven skins of vellum, the heading showing fully apparelled knights holding pennants and continuing in the same style until the 1860s, plus one unfinished skin and a one bearing arms illuminated in full, on vellum, some natural flaws, over 500mm. long, nineteenth century, partly after an original of 1621 £400 - 600 €460 - 700

A finely executed tree, the opening parts evidently being a faithful facsimile of an original exemplar of 1621.

40 HISTORY and POSTAGE Collection of letters and documents of historical and postal interest, including a warrant signed by the Marquess of Winchester, Lord High Treasurer to Queen Elizabeth, on behalf of Robert Kichman, “one of the Ordinaries Messengers of the Quenes Ma.te Chamber” claiming 10/8d (“...for ridyinge in all hast with lres from my lords Tresorers place at London by the comanndement of the queens Ma.te most honourable privie counsaille into Essex to the shref of Essex & Herts & to hym delivered a lre, and so with like spede returned agayne to london...”), 1 page, year 1567 added in modern hand, damp-stained, 4to; a letter signed, with autograph signed postscript, by Henry Howard, Earl of Northampton, to the Mayor, Jurats and Common Council of Sandwich, recommending Edward Kelke [Common Clerk and Ports Solicitor, see HMC, Rye, letters in the Kent History and Library Centre, Jeake, Charters, p. 131, etc.], dated in docket 1604, 1 page, integral address leaf with papered armorial seal and contemporary dockets, folio; an autograph letter by Sir George Chudleigh, to his sister Dorothea Mohun, congratulating her on her good fortune, from Ashton, 25 November 1629, 1 page, integral address leaf, seal, folio; an autograph letter by Nicholas Payne, written from London on 22 October 1640, to Captain Collins (“Incresent Collenes”) at one of His Majesty’s forts at Dover, written on the eve of the outbreak of the Civil War, with the Scots occupying Newcastle and elections under way for the Long Parliament that was to meet on 3 November (“...Now for newse from hence wch all men exspecket one from another: the truth is, it is so varyable and of soe high a nature that for my parte I daure not to wright of it; but this much the Citties of Lond: and Westminster have chosen there former burges and knights for the parlament... this daye I was in the company of gent that came from Yorke this weeck did reporte that the lords of England and Scotland were agreed: and that there should be a sursecion of Armes...”), 2 pages, with address panel and seal, dust-stained, folio; a letter seemingly written and signed on behalf of William Paulet, first Marquess of Winchester, Queen Mary’s Lord Treasurer, with responsibility for mustering the Queen’s forces, addressed to Lord North, the Sheriff and JPs of Cambridgeshire, 9 July 1558, 2 pages, address panel on verso, stained, folio; letter signed by Edward Nicholas, Secretary of State, ordering from Sir William Compton “foure Waggons for the use & service of his Ma.tys Jewell-house”, 2 April 1662, 1 page, integral address leaf, papered seal, folio; a letter signed by General Percy Kirke, to William Blathwayt, Secretary at War, written while prpeparing to embark with the Londonderry Relief Force, 3 April 1689, 1 page, integral address leaf, seal, Bishop Mark, small 4to; letter signed by Sir John Trevor, Speaker, to the High Sheriff of Devon, summoning Members to the House, from the House of Commons, 28 February 1693[/4], 1 page, integral address leaf, franked by Trevor, seal, folio; two letters by Wellington; a file of letters to Sir Francis Freeling and others, concerning claims of royal outrages committed by the Brighton Post Office; two letters by Freeling about letters misspent to Olney, dust-staining and minor wear throughout £1,000 - 2,000 €1,200 - 2,300

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41 HISTORY, ROYALTY and LITERATURE Papers of Lieutenant-General Sir Herbert Taylor, partly relating to his service as confidential agent or secretary to British sovereigns and other members of the Royal Family between 1805 and 1837, including an autograph letter by Lord Chancellor Thurlow to George III, docketed as written in 1783 [but possibly written during preliminary peace negotiations with America] (“...Believing I should serve Your Majesty more effectually by conversing with Lord Shelburne on all the points He was disposed to open Himself upon, I have ventured to trespass upon Your Majesty’s Commands to attend Your Majesty at three o’clock, by staying with Him till this minute. I am now therefore to beg Your Majesty’s permission to wait upon Your Majesty at any hour in the Evening...”), and autograph letters etc., by Spencer Perceval (to the Duke of York), the third Earl of Liverpool, Robert Peel (“...respecting the appointment of Constable of Windsor Castle...”), plus the Archbishop of Canterbury and other distinguished persons, largely concerning military appointments (“...been in South America aid de camp to General Bolivar...”); with a group of letters by Lord Conyngham acting for George IV (“...You need not send any Infantry to Brighton for the present...”), a family memorandum identified as by Nathaniel Taylor, afterwards Clerk of the Commonwealth and acquaintance of John Bunyan, begun in 1646, as well as scholarly notes on Nathaniel and others of the family by Ernest Taylor, an album of free fronts, and a indenture for the purchase of Bifrons, the family seat, in 1696 £400 - 600 €460 - 700

Sir Herbert Taylor (1775-1839) began his career in the Foreign Office before joining the staff of the future Commander-in-Chief, the Duke of York, to whom he was always to remain close. He saw active service and rose to the rank of lieutenant-general. In 1805 he was appointed Private Secretary to George III: ‘His position was one of great delicacy, but his straightforwardness secured the good opinion of all. On the establishment of the regency he continued in the same office to the queen, who was appointed by act of parliament guardian of the king’s person’ (R. H. Vetch, DNB). He later served as Private Secretary to William IV and confidential agent to George IV. Other posts included Military Secretary at the Horse Guards and to the Duke of Wellington, Deputy Secretary at War, Surveyor General of the Ordnance, Adjutant General of the Forces, ADC to Queen Victoria, and MP for Windsor.

Included in the lot is a wrapper addressed by Lord Byron to John Hay (a member of his Pisan circle), and a blank paper commission signed by James II, counter-signed by Lord Melfort, for a cornet in a troop of horse, issued at St Germains, 20 June 1692: for a well-known cache of similar examples, see the Standish Plot Papers, held by the Wigan Archives Service (these were discovered behind a garden wall in 1757 and our example might well have suffered a like fate, being somewhat worn by damp with paper-losses to the margins).

36 | Bonhams 43

42 • [HOLINSHED (RAPHAEL)] The First and Second [ and Third] Volumes of Chronicles, 3 vol. in 2, black letter, double column, general titles and 3 parts titles within wide woodcut borders, woodcut device on colophon leaves, general title to volume 3 supplied in facsimile (bound with duplicate title to volume 2), first two general titles laid down, without 2 blanks in volume one, duplicate of 6 leaves (6N1-6) in volume 3, one margin repaired, short marginal tear to one leaf, small rusthole in one margin, a few leaves in volume 3 with very light dampstain, but generally a good clean copy with wide margins, a couple of neat pen annotations (“A tedious ffoole in Print” and “A most impertinent coxcombe” in the section on Scotland), blindstamp on 4 leaves, eighteenth-century calf gilt, gilt morocco lettering label on spines, rubbed, with some loss to extremities of spines, joints weakened, [STC 13569], folio (355 x 230mm.), folio, [John Harrison, George Bishop and others, January 1587] £1,500 - 2,500 €1,700 - 2,900

43 • HOMER [Opera]... quae extant omnia Ilias, Odyssea, Batrachomyomachia, Hymni, title printed in red and black with large woodcut device, text in Greek and Latin in parallel columns, browning, title laid down with engraved illustration mounted on verso within decorative pen and ink frame, and ownership inscription “Ex libris F. Joannis Saliani Augustiniani: Doct. Theologi”, early eighteenth-century French calf gilt, elaborately tooled on covers and spine with all-over design of fleurs-de-lys, sides with Cardinal’s arms in centre, g.e., lacks ties, folio, Geneva, Sumptibus Caldorianae Societatis, 1606 £600 - 800 €700 - 930

Books, Maps, Manuscripts & Historical Photography | 37 44

45

38 | Bonhams 44 HUMFREY (PELHAM) Indenture signed twice (“Pelham: Humfrey”) as witness to a deed signed by his future father-in-law, the singer and composer Captain Henry Cooke, Master of the Children of the Chapel Royal, and Cooke’s wife Mary, leasing Copt Hall and associated property in Puckley, Kent, for twenty-one years to John Neppeker (or Nepeker), butcher; Pelham’s two signatures, together with those of his fellow pupil Thomas Price, being on the verso, witnessing both the deed itself and a memorandum made the same day; the indenture bearing two seals in red wax (one incomplete) attached by vellum tabs, signed by Henry and Mary Cooke across the tabs, on one skin of vellum, minor rubbing, a light stain at centre and some dust-staining on verso, but overall in attractive and fresh condition, c.330 x 550mm., 19 August 1661 £1,000 - 1,500 €1,200 - 1,700

EXCEPTIONALLY RARE SIGNATURES OF THE COMPOSER PELHAM HUMFREY, witnessing a deed signed by his fellow musician and future father-in-law, Captain Henry Cooke. Humfrey, about thirteen years old when he witnessed this deed, was to die in 1674 when only twenty-six, leaving behind some wonderful music (including the well-known setting of Donne’s ‘Hymn to God the Father’). He was, in the estimation of Bruce Wood, ‘The most precocious of the brilliant first generation of choristers at the Chapel Royal after the Restoration’: ‘he spent the whole of his short adult life in its service. He had neither interest in nor aptitude for the old polyphonic style; instead he developed a distinctively English Baroque idiom, enriched by progressive French and Italian techniques, yet founded on the inflections of his native language, and far outstripping the experimental efforts of any earlier English composer both in consistency of approach and in technical fluency’ (Grove Music Online). John Irving describes him as ‘clearly a precocious talent, who, given a longer life, might have developed into a composer of the stature of Purcell’ (ODNB).

When he signed this deed Humfrey had only recently been assigned to the Chapel Royal of which Henry Cooke had charge, his voice not breaking for another three years. His fellow signatory, Thomas Price, is also recorded as being in Cooke’s care, with Cooke being paid for his upkeep during 1664 (Lafontaine, King’s Musick). In 1672 Humfrey was to become jointly with Thomas Purcell Composer of the Violins, and probably taught the young Henry: ‘it is clear that Humfrey’s knowledge and application of French and Italian styles of composition were to have no small impact on the impressionable chorister’ (Irving). On Cooke’s death in 1672, he succeeded him as Master of the Children of the Chapel Royal and Composer in the Private Musick, marrying Cooke’s daughter Katherine that same year. The property in Puckley, Kent, with which the present deed is concerned, came into the family from Katherine’s mother, Mary, co-signatory of the deed.

We can find no record of a manuscript by Humfrey having appeared for sale.

45 • HYGINUS (CAIUS JULIUS) Poeticon astronomicon [edited by Jacobus Sentinus and Johannes Lucilius Santritter], 55 leaves (of 56, a1 replaced with later title leaf printed “Hyginii Astrononomicon”), 34 lines, Roman letter, woodcut illustrations and initials, some capital spaces with printed guide letters, light staining to a few leaves, small hole in evii-viii (touching image on one page only), small ink annotations (one in red) in margins of 3 pages, oval stamp “Libr. Fonini. Bologna” on title, later vellum, remnant of morocco spine label, [ISTC ih00562000; BM V 318; Goff H-562; GW 0373; Hain 9065], small 4to (177 x 137mm.), [Venice, Thomas de Blavis, 7 June, 1488] £1,500 - 2,500 €1,700 - 2,900

Provenance: Fonini Library, Bologna (inkstamp on title).

Books, Maps, Manuscripts & Historical Photography | 39 46

47

40 | Bonhams 46 • ILLUMINATED MANUSCRIPT, BOOK OF HOURS Book of Hours, Use of Rouen, 99 leaves (modern pencil foliation in lower right includes old parchment front flyleaf), 2 modern parchment flyleaves, I12, II8, III10, IV-VI8, VII8-1 (1 missing, probably a miniature showing David in Penitence), VIII8-1 (8 missing, probably a miniature showing Pentecost), IX12, X4, XI12, XII2+1 (probably a bifolium missing after 2), written space 100 x 66 mm., ruled in red for 16 lines per page in one column, in brown ink in a regular Gothic liturgical bookhand, rubrics in red and mostly in French, 4 LARGE ARCH-TOPPED MINIATURES WITH FULL DECORATIVE BORDERS (of 6, one with some water damage), versals touched in yellow, one- and two-line initials in burnished gold on red or blue grounds with white penwork, three-line initials in blue on burnished gold grounds with tendrils and ivyleaf decoration, some staining and rubbing, 2 leaves cut (including the last with loss of later text), one or two names of saints cleanly cut from the calendar and single one- or two-line initials cut from the text, modern vellum, gilt morocco label “Horae B.V.M. 15 Cent.” on spine, small 4to (168 x 116 mm.), [Rouen, c.1475-1485] £3,000 - 5,000 €3,500 - 5,800

Text (following the incorrect pencil foliation):

Fol. 1-12v: Calendar; fol. 13-17: Gospel Sequence: fol. 17-20: Obsecro te (rubric in French); fol. 20-22v: O Intemerata (rubric in French); fol. 23-54v: Office of the Virgin for the use of Rouen: 23-31 (Matins), 31-38v (Lauds), 38v-39 Suffrage to St Nicholas, 39-39v Suffrage to St Margaret, 39v-40 Suffrage to St Katherine, 40- 40v Suffrage to Peace, 41-44 (Prime), 44v-46v (Terce), 46v-48 (Sext), 48v-50v (None), 50-51v (Vespers), 52-54v (Compline); fol. 55-62v: Penitential Psalms (incomplete, lacks beginning); fol. 63-66: Litany; fol. 68v-70v: Hours of the Holy Spirit (incomplete, lacks beginning); fol. 71-92v: Office of the Dead, use of Rouen; fol. 93-98v: 15 Joys of the Virgin Mary/ Doulce Dame (in French); 98v-99: 7 Requests of the Lord/ Douls dieu, douls pere (in French; incomplete, lacks 1-2 leaves); fol. 99-99v: Stabat Mater, added by a later hand, incomplete.

Miniatures: fol. 24: Annunciation, fol. 42: Nativity, fol. 67v: Crucifixion, fol. 72: Burial Scene.

The illumination was executed by an artist who was probably not based in the centre of Rouen, but who must have been influenced strongly by the compositions of one of Rouen’s most famous illuminators, the Master of the Rouen Échevinage also known as the Master of the Geneva Latini. Although the miniatures in this manuscript are a far and very charming cry from this artist’s achievements, we can clearly see how he adopted the familiar repertoire of compositional elements and decorative vocabulary, including detailed patterning of textiles and elaborate architectural constructions (esp. in the Annunciation). In the artistic milieu of this artist, compositions were often repeated - which is also again evident in the Annunciation. The border decoration in the margins of the large miniatures also clearly point to Rouen around 1480.

Provenance: Ownership note “du Mon(signore) de Notre Dame de Charité” in an eighteenth- or nineteenth- century hand.

47 INDIA - COMPANY SCHOOL WATERCOLOURS An album of 60 Company School watercolours, including Sikh rulers, views and trades, all within pen and wash border, captions in Persian (one in English) in lower border, a few with additional pencil note in English, ownership inscription “L.S. Parry. Found by Lieutenant C.J. Tyler, R.A., in the Bagh Palace at Lucknow after the seige. 1856” on front free endpaper, nineteenth-century blindstamped morocco, rebacked, small folio (280 x 182mm.), [nineteenth century] £1,500 - 2,000 €1,700 - 2,300

Comprises: Sikh rulers (10), topographical views (10, including Golden Temple at Amritsar; tomb of Ranjet Singh; Golden Mosque, Lahore; Taj Mahal; views in Delhi), and trades (40).

Books, Maps, Manuscripts & Historical Photography | 41 48

48 INDIA - NORTHWEST FRONTIER Series of over twenty autograph letters signed by James Lindsay Steven, Gunner subsequently Corporal and Sergeant of 1st Troop 1st Brigade, Bengal Horse Artillery, the majority to his brother in Edinburgh, couple to his mother, the first half written from Peshawar, the second from Umballa, describing both day-to-day life in the army and the adventures that befell him; with envelopes, postmarked and franked by officers, some 80 pages, some dust-staining etc to envelopes but overall in fine condition, folio, 4to and 8vo, Peshawar and Umballa, most 1852-1855 £1,000 - 1,500 €1,200 - 1,700

42 | Bonhams A REMARKABLY VIVID, AT TIMES KIPLINGESQUE, ACCOUNT OF THE LIFE OF A BRITISH SOLDIER ON THE NORTH WEST FRONTIER IN THE YEARS LEADING UP TO THE MUTINY, their author being killed on 11 September 1857 during the retaking of Delhi. Quotation from one letter will suffice to give some idea of this series, the extraordinary frankness of which is no doubt owing to the fact it is almost entirely addressed to a brother, rather than wife, sister or mother or even father (more normal recipients of such letters). This representative letter is dated from Peshawar, 27 June 1852, and opens with an account of enemy action: “We had a great deal of sharp skirmishing, and killed a great deal of the Hill tribes, fighting principally on the hills our guns doing very little damage, except among the villages which swept them clean numbering about thirty or forty. The infantry got all the fun. A great many of the black soldiers on our side killed and wounded. The swathies fight well single-handed, but as soon as ever they see the guns they run away as fast as if the devil was after them... I happened to be a spare man, and was sitting on my horse looking about me when my eye happened to catch sight of a shot bounding through the air, in the direction where a mob was collecting on the top of the hill, but it fell about three yards short of its mark, when one of the mob ran down the hill after the ball and caught it in his hand, and brought it up safe and sound to the rest of them, when they all examined it, wondering at such a small thing like that killing so many at once. A shell happened to light in among them the next time, and I suppose they thought it was another ball, but they soon found out their mistake, for the next moment the shell burst and they were all blown to Purgatory”.

What follows does indeed bring to mind the Raj of Gunga Din: “oh! it was horrible standing to your guns the whole day, nothing on you but a pair of white cotton trousers and a thin shirt, the thermometer about 130o the wet running off you in bucket-fulls, and sometimes not a drop of water to cool your tongue, and the best of it get nothing or it but thanks from the Commander-in-Chief – for our readiness in taking the field, which is all very well, but ten or twenty Rupees would be better than fifty thousand thanks, but it is all in our line of business”.

But the bulk of the letter – the quotation here being severely truncated – is devoted to some of the author’s recent amorous adventures: “An elopement took place the other day which astonished the whole lines. The bride belonged to parents in the 53rd Regiment, and had been the cause of great anxiety to a great many Sergeants and Corporals, all getting encouragement from her parents... one of our Troopers went down to see this far-famed wench (an ugly squinting eyed thing), and treated the old couple for three nights, when he told me he was determined to marry her... I spoke to the girl and proposed for her to make an elopement... the two got married, and I had a splendid night of it, they tell me I swore eternal love to a widow who had buried her sixth husband and she accepted me, putting a splendid gold ring on my hand. The day was fixed, and the old woman of sixty, with her hair as grey as a rat, actually thought I was going to marry her... I was thunder struck and when I assured her it was all gammon, and never had the least intention of anything of the sort, she got into a horrible passion, calling me everything that was uppermost, swearing she would take my life at the first opportunity. Of course I responded and called her all the ugly old bitches I could think of, and told her she was not going to kill me the same as she had done her last three husbands. That put her in a worse passion, she curst and swore and threw tables, chairs, bottles, glasses, and every thing she could get her hands at, so you may guess and calculate as the Americans say. I had to run for my life. I was laughing over it when I got to the barracks, when I happened to look out at the door, when there was my poor woman, along with a file of the guard going to the guard-room... as I happened to pass he I asked her how she was getting on, and put my finger to my nose. She made one bounce at me, but I was too wide awake, I sprang to a side, and she fell all her length on her face, smashed her smeller that the claret run out and send two of her teeth... down her throat. I had for to run again for my life, for she got up and got to a heap of stones, and began peppering me as hard as she was able”.

Included in the lot is a letter by fellow soldier describing the action in which Steven met his death, memorial notices and his Indian Mutiny Medal, with Delhi clasp. Also included is Steven’s Bible, issued in 1856 (with a note added recording his death and mentioning sums due to his estate, and the medal), together with his baptism certificate dated 22 February 1830, his father being James Steven, a bookseller of 51 Hope Park End, his mother, Helen Murray.

49 • IRAN, ISFAHAN [Isfahan], printed map on a number of small sheets joined, Persian text, trifling losses or small tears at joins, 1320 x 1410mm., Isfahan, [nineteenth century] £1,000 - 1,500 €1,200 - 1,700

50 • JEFFREYS (THOMAS) A Description of the Spanish Islands and Settlements on the Coast of the West Indies, first edition, 32 folding engraved maps (one hand-coloured), bookplate of Richard Shuttleworth Streatfeild, modern half calf [Phillips 3941; Sabin 35959], 4to, T. Jefferys, 1762 £2,000 - 3,000 €2,300 - 3,500

FIRST EDITION of a collection of charts relating to Spanish America. The charts are based on drawings captured from the Spaniards in the recently-ended war, concentrating on ports and seaboards likely to be of the greatest interest to opportunistic British merchants. Includes maps of Pensacola, Saint Augustine, Puerto Rico, and several of Cuba.

Books, Maps, Manuscripts & Historical Photography | 43 51 52

51 • KNOX (ROBERT) An Historical Relation of the Island of Ceylon, in the East-Indies: together with an Account of the Detaining in Captivity of the Author and Divers other Englishmen now Living There, and of the Author’s Miraculous Escape, first edition, 15 engraved plates, folding engraved map (tear repaired with small blank piece replaced), license leaf before title, advertisement leaf at end, without the portrait (as usual), early note referencing the oriental scholar Thomas Hyde (1636-1703) on licence leaf, gift inscription to William Mostyn Fraser (1879), bookplate of Lord Berwick, contemporary calf, gilt arms on covers, rebacked, lower cover repaired [Wing K742], folio, Richard Chiswell, 1681 £800 - 1,000 €930 - 1,200

Whilst trading along the Coromandel coast Robert Knox (1641-1720) was forced to land at Kottiar Bay, Ceylon, whereupon he was held captive for the next nineteen years, eventually escaping in 1679. The Historical Relation of the Island Ceylon was written on the voyage back to England, where it was published with encouragement of the East India Company and Robert Hooke of the Royal Society. “The book influenced the work of contemporaries such as Daniel Defoe, who drew from Knox’s experiences much of the context for, and the aspirations of, his hero in Robinson Crusoe” (ODNB).

52 • LESSORE (EMILE-AUBERT) and WILLIAM WYLD Voyage pittoresque dans la Regence d’Alger exécuté en 1833, lithographed title with dedication to Horace Vernet, 50 lithographed plates after Lessore and Wyld, spotting (mostly to margins), 20 pages of lettepress text, loose in publisher’s parts wrappers (to part 5), folio, Paris, Charles Motte, [1835] £1,000 - 2,000 €1,200 - 2,300

SCARCE. The English artist William Wyld (1806-1886), a protegé and friend of Horace Vernet, and Lessore (1805- 1876), a pupil of Ingres, made their tour of Algeria in 1833, the year after Delacroix’s first visit.

44 | Bonhams 53 54

53 • [LEWKENOR (LEWIS)] The Estate of English Fugitives Under the King of Spaine and His Ministers, title within woodcut ornamental border with printer’s device, paper flaw to lower fore-corner of A4 with part loss to catchword, 3 leaves shaved touching one signature and a few side-notes, WILLIAM HERBERT’S COPY inscribed “WB b.1166” (shaved) at lower margin of title, maroon crushed morocco gilt by Riviere, g.e. [STC 15564], small 4to, John Drawater, 1595 £600 - 800 €700 - 930

An enlarged and authorised edition of A Discourse of the Usage of the English Fugitives, by the Spaniard printed in the same year, giving an account of the “unnaturall & degenerated Englishmen” who had served under the King of Spain.

Provenance: the bibliographer William Herbert (1718–1795).

54 • LINDEN (JEAN-JULES and LUCIEN) Lindenia. Iconography of Orchids, Parts 1-32, 34-72 and 75 only, bound in 61 original issues, first edition in English, 280 chromolithographed plates (6 double-page) by Pannemaeker, G. Severeyns and J. Goffart, mostly after A. Goossens, notice from the publisher inserted in parts 6, 14 (announcing that one plate not printed, but that it would appear in a forthcoming issue) and 61/62, tissue guards (approximately 5 slightly adhered to image), publisher’s printed pink wrappers, some soiling (mostly marginal but substantial to 3 parts, one with spine split, one with short marginal tears) [cf. Nissen BBI 2348; Stafleu & Cowan 4628], folio, Ghent [and Brussels], Printed by Eug. Vanderhaeghen, [for Lucien Linden], [1891-1897], sold as a periodical £1,500 - 2,500 €1,700 - 2,900

Jean Jules Linden (1817-1898) was a plant hunter, dealer and importer, who had travelled South and Central America between 1835 and 1844, before being appointed director of the Jardin Royal de Zoologie et d’Horticulure at Brussels in 1852. The English edition, almost simultaneously published in French, was completed in 13 volumes, appearing in parts between February 1891 and July 1898, the current set finishing with part 75 in April 1897 with 280 of the overall 312 fine chromolithographed plates.

Books, Maps, Manuscripts & Historical Photography | 45 55 LITERATURE, POLITICS, RELIGION AND ART Collection of autograph letters signed, etc., by Ruskin (two, one thanking a minister for a gift – “If I live a few years longer, I have good hope of doing all I have either wished or promised in that kind”, the other sending a book “to look over quietly – mind – you’re not to have it unless you want it very heartily”), Edmund Blunden (attractive autograph letter signed, to discussing writers such as Joshua Barnes – “was not Barnes’s ‘Euripides’ the text which Shelley used 100 years after?” – and Hartley Coleridge), Helen Allingham (about blocks reproducing her drawings), Henry Morley (on The Household Words Almanac - “This summer I suggested what might possibly be done to Mr Dickens & have been allowed in connexion with Household Words the sort of Almanac that I have so long wished to see...”), J.A. Froude, Harriet Martineau, Alfred Austin, A.C. Benson, et al.; plus a licence to plea signed by Queen Victoria (in a case of violence at sea on board the Arabia, 1882), a scribal report on Carn Brea Tin Mine, Cornwall, 1890, and two books by Ruskin £600 - 800 €700 - 930

Included in the lot is a fine group of letters to the Rev. Robert Rodolph Suffield (1821-1891), the Roman Catholic priest and Unitarian minister, including letters dating from his adoption of Unitarianism at the time of the promulgation of Papal Infallibility, including an important series from his Unitarian mentor, James Martineau, dating from 1870 (“...Your confidence could not be given to any one more worthy to receive, and more skilful to help in moral difficulties than the venerable and noble-souled Newman...”), the Duke of Norfolk (subscribing himself “Yours affectionately”), and W.E. Gladstone (two densely-argued letters – “Christian truth, from my point of view, has authority, which is an element of power. ‘He taught them as one having authority, and not as the scribes.’ And this authority He bequeathed to His followers, even to the meanest of them in his degree. Although, therefore, my sympathies with truth of religion flow far beyond the prescient of the historical, visible, Catholic Church, I am not prepared, even in my small & wretched way, to be a teacher of truth from any other platform”).

56 LONDON - LAMBETH HORSE FERRY Indenture leasing the Lambeth Horse Ferry, bearing on the reverse the “Orders about Lambeth Horse Ferry” in which are listed the timetable and fares; the lease signed and sealed by Henry Folkes of St Martin’s in the Fields, renting to William Zinzan of the Parish of St John’s [Smith Square] “the Office and Custody of the Ferry Boat at Lambeth in the County of Surry with the Right of Passage or Ferriage across the river of Thames from Lambeth aforesaid to a certain Bank on the Opposite Shire formerly belonging to the Abbott and Convent of Westminster with all Fees Profitts and Advantages thereto belonging” assigned to him and Robert Cockrane jointly by the Archbishop of Canterbury in 1729; the lease specifying that Zinzan observe “Orders about Lambeth Horse Ferry Referred to by the within written Indenture of Lease”, these opening: “There having for some time past been Divers Complaints of Lambeth Ferrys being Ill served for want of three Boats Generally Attending and that the two were not wrought with Due Attendance Despatch and Good manners. These are therefore to Inform all Persons whatsoever concerned in Passing or sending over the said Ferry that from and after the first Day of May One thousand seven hundred and thirty three will be three very Good Boats well Manned Constantly Attending and Working in Due turns at the said Ferry so that One Boat (at least) will still be ready on either Side to take any Coach, Chariott, Chaise, Waggon, Cart, Carr, Dray, Single Horse, or Horses, or any other proper thing Comeing thereto at any Seasonable hour. And all Carefull Dispatch and Courteous behaviour shall be paid to any Person Passing the same”; and giving the hours of summer and winter service, “from Lady Day to Michaelmas between the hours of four or five in the Morning untill ten or Eleven at Night and from Michaelmas to Lady Day from between Six or Seven in the Morning untill Eight or Nine at Night”; with the fares appended in another hand, comprising ten categories, from “a Coach or Chariot with Six Horses thereto” at half-a-crown, to “Sheep Hoggs or Calves a score” at tenpence; witnessed on the verso, as sealed and delivered, by William Spinks and Collingwood Forster; bearing an obsolete London County Council stamp (‘L.C.C./ L & P Deeds/ Docket No. 31377’), on one skin of vellum, extensively dust-stained but nevertheless in sound and legible condition, original docket rubbed, [Westminster], 6 November 1736 £1,000 - 1,500 €1,200 - 1,700

‘THE RIGHT OF PASSAGE OR FERRIAGE ACROSS THE RIVER OF THAMES’ – original lease, timetable and fares for the Lambeth Horse Ferry: the first mention of a horse ferry at Lambeth is in 1513, although it is certainly much older and probably predates London Bridge itself. It was the only horse ferry allowed on the Thames near London and remained in use into the nineteenth century, giving its name to present-day Horseferry Road. Plans to build a bridge from Westminster to Lambeth were first made at the Restoration and were revived in 1721 and building begun in 1738, two years after our lease was issued; with the Archbishop of Canterbury, the ferry’s owner, receiving £21,025 in compensation. Among the papers of the Archbishops at Lambeth Palace Library is a ‘petition of William Zinzan of Lambeth, tenant of the Horseferry, to Archbishop Potter on his eviction by the archbishop’s lessees [1737-47]’ (Lambeth, Surrey TR 21).

46 | Bonhams 57

57 • LONDON - THE NEW RIVER Large album, with manuscript title “This Collection of views &ca, relating to the New River, and objects of interest in Parishes through which it passes, from London to its Source, near Ware, in Hertfordshire, was made, principally during the years 1842 & 1843. By one of the Companys Officers, at his own expence. Robert Percy Smith, Esq.r, Governor. London, 1844”, including 16 fine amateur watercolour views, c.150 x 300mm., [1843]; 4 large pencil views; approximately 150 engravings, including Sir Hugh Myddleton by George Virtue after Cornelius Johnson, 1632 (annotated on verso “this plate was purchased at the sale of the Strawberry Hill collection”); Robert Percy Smith by George T. Doo after John Jackson, 1838; 6 views by Wenceslaus Hollar; 17 engraved maps of Middlesex, Hertfordshire and parishes along the New River, mostly double-page, hand- coloured; 4 small gelatin silver prints of the New River near Hoddesdon; an albumen print of the New River Round House with pumping machinery, by “T.C. Turner, Art Photographer”, mounted on card with printed description, 240 x 285mm.; 4 printed broadsides, including “To the Inhabitants of the Parish of St. Pancras. Apparent Monopoly in One of the First Necessaries of Life, Water”, Bridgewater, South Molton St., [March 1816]; ephemera, including 16 nineteeth-century New River Company “Collectors’ tickets”, and a ticket to Sadler’s Wells; 3 printed Acts relating to leases of New River lands during William IV and George III’s reigns, and other descriptive texts; a lease on vellum, issued by the New River Company (retaining rights to dig clay and gravel) to John Blackburn, with hand-coloured plan, 7 January, 1790; “The New River. An Entire Freehold Share in the Adventurers Moity... 21st November, 1900”, an auction catalogue, Edwin Fox and Bousefield, [1900]; and other material, most items pasted down or window-mounted, some loose, nineteenth-century half morocco, morocco gilt lettering label on upper cover, worn, lock (broken), joints split, large folio [nineteenth century]--JUKES (FRANCIS) Views of the New River and its Vicinity, engraved dedicatory title, 8 hand-coloured aquatint plates by Jukes after R.M. Batty, loose in contemporary gray wrappers, printed label “New River Scenery, No 1” on upper cover [not in Abbey], oblong folio, [January 1, 1793] (2) £1,000 - 2,000 €1,200 - 2,300

FINE RECORD OF “THE NEW RIVER”. The New River was constructed to take water from springs at Chadwell and Amwell in Hertfordshire to North London. A Royal Charter was granted to New River Company in 1619, with Sir Hugh Myddleton as the first Governor. The original length of the river was approximately forty miles, ending at the Round Pond at New River Head, Clerkenwell, where steam power was introduced in 1768. The principal pumping station was later developed at Stoke Newington, where two resevoirs where completed between 1831 and 1833. The watercourse has been shortened over the years, by straightening and direct river and pipeline channels but still plays an important role in supplying water to the capital.

The album was compiled in the nineteenth century by Robert Percy Smith (1770-1845), a governor of the Company. It includes a series of sixteen fine amateur watercolours depicting the most important sites along the river, including reservoirs, engine houses, sluice houses and the Balance Engine. Also inlcuded are numerous engraved views, pencil drawings, printed ephemera, and a rare set of eight coloured aquatint views by Francis Jukes.

Books, Maps, Manuscripts & Historical Photography | 47 58 61

58 • LORD (HENRY) A Display of Two Forraigne Sects in the East Indies. Viz. The Sect of the Banians, the Ancient Natives of India and the Sect of the Perses, the Ancient Inhabitants of Persia, together with the Religion and Maners of Each Sect, 2 parts in one vol., first edition, engraved historiated title by William Marshall, letterpress part titles, without final blank, bookplate of Lawrence Strangman, modern half calf [STC 16825], small 4to, T. and R. Cotes, for Fra. Constable, 1630 £600 - 800 €700 - 930

Henry Lord was the chaplain to the East India Company at Surat in Gujarat, from 1624 until 1629. Whilst there he made a study of the customs of the natives, this two-part treatise offering “an invaluable account of Hindu and Parsi cosmography for European readers” (ODNB), that on “Banians” including one of the earliest known descriptions of Hinduism in a European language.

59 • MILTON (JOHN) Paradise Lost. A Poem in Twelve Books... the Second Edition, Revised and Augmented by the Same Author, engraved frontispiece portrait by W. Dolle after Faithorne, with final blank, light soiling and spotting, small grease stain in blank corner, one corner cut away, 2 headlines very slightly shaved, 3 short tears, early ownership inscription (April 26 1728) on title, nineteenth-century bookplate of William Drake, modern half calf [Wing M2144], 8vo, S. Simmons, 1674 £600 - 800 €700 - 930

48 | Bonhams 60

60 • [MOLL (HERMAN) The World Described, or a New and Correct Sett of Maps], collection of 23 hand-coloured engraved maps only, each on 2 sheets joined, ink manuscript index on front pastedown, no text, maps all creased, some with tears at folds and a few slightly frayed, occasional slight loss (“Moon” in lower corner of World map, one corner of ‘North Parts of America’ torn away with loss to border, just touching sky in inset vignette, horizontal tear to Spain, Theatrum historicum with loss at sides), contemporary boards, defective [Phillips 554], large folio (650 x 510mm.), 1708-39, [T. Bowles] £6,000 - 8,000 €7,000 - 9,300

Comprises: A New and Correct Map of the World; Europe, 1708; Asia; South America; A New Map of the North Parts of America Claimed by France under ye names of Louisiana, Mississipi, Canada, and New France, 1720; England and Wales, 1710; A New and Exact Plan of the City of London and Suburbs Thereof... to the Present Year 1739; Germany, Hungary, 1712; France; Spain and Portugal; Italy, 1714; Low Countries; Netherlands; Moscovy, Poland, Little Tartary, and ye Black Sea; Scotland, 1714; Ireland, 1714; Denmark and Sweden; The Turkish Empire; Brunswick-Lunensburg; Islands within ye limits of ye South Sea Company; East- Indies; West-Indies; Theatrum historicum, 1709.

61 • MÜNSTER (SEBASTIAN) Kalendarium Hebraicum, woodcut illustrations including a series of solar and lunar eclipses, without the 2 folding woodcuts (ink offsets of these at pages 57 and 64), ink smudge on title; Chaldaica grammatica, 2 works in one vol., text in Latin and Hebrew, printer’s device on titles and colophon leaves, woodcut intitials, early Jesuit ownership inscriptions, blindstamps at beginning and end, contemporary blindstamped South German calf, manuscript pastedowns, spine partially detached and text block split, small 4to, Basel, Johann Froben, 1527 £800 - 1,200 €930 - 1,400

Books, Maps, Manuscripts & Historical Photography | 49 62

62 NELSON (HORATIO) Autograph free-front, franked with his signature (“London January Twelfth 1801/ Nelson”), as a peer of the realm, made out to Mr Hinxman of Chilling, near Titchfield, Hants, on a whole sheet, hand-stamped in red ink ‘Above Privilege’ and with date-stamp on reverse, 1 page, Britannia watermark, neat seal-tear, light dust- staining, strengthened with archival tape on verso, folio, London, 12 January 1801 £400 - 600 €460 - 700

NELSON CAUGHT INFRINGING PARLIAMENTARY EXPENSES, THE DAY BEFORE LEAVING HIS WIFE: as a member of the House of Lords, following his elevation to the peerage after the Battle of the Nile, Nelson was allowed the privilege of sending ten free letters a day, each of which had to be signed, located and dated, as here. Strictly speaking, peers and MPs afforded this privilege were not to frank other people’s mail, but the practice was so widespread that a refusal to do so would, one imagines, have been churlish. The hand-stamp on the present cover indicates that Nelson’s offence was simply that of sending out too many letters. (In the 1820s and 30s the fad grew for collecting such franks, which would be mounted in albums with the free-front shorn of the rest of the address wrapper; and to find the complete sheet, as here, is comparatively rare).

The recipient of this cover, “Mr Hinxman” of “Chilling near Titchfield”, could well be William Cobbett’s ‘Richard Hinxman, my excellent good friend of Chilling’, who was dedicatee of the second part of A Year’s Residence in the United States of America, 1818 (unless of course one is father to the other). In which case, one’s first assumption, that Nelson was franking mail for someone else, seeing as Hinxman does not show up otherwise among Nelson’s correspondents, may be unfair, and it might well have been that Nelson was indeed sending a letter to a politically engaged correspondent.

Another noteworthy feature of this address-sheet is its date and place: London, 12 January 1801. Nelson had only returned from the Mediterranean theatre early that November and taken up his seat in the House of Lords on the twentieth (trimming his signature as he did so from “Bronte Nelson of the Nile” to the more conventional “Nelson”, a form of signature he stuck to until 3 January when, safely free of Parliament and back on board his ship, he took up the familiar ‘Nelson & Bronte’). The day after writing out this cover he was to leave London for Plymouth. This marked a turning point in his life, for, in the succinct account of his editor: ‘After much uneasiness and recrimination on both sides, Lord Nelson took his final leave of Lady Nelson on the 13th of January, and soon after left London for Plymouth’ (Sir Nicholas Harris Nicolas, Dispatches and Letters of Lord Nelson, iv, p. 272).

50 | Bonhams 63 63 • NORDEN (JOHN) Speculum Britanniae. The First Parte. An Historicall, & Chorographicall Discription of Middlesex, engraved architectural title (shaved at upper margin), full-page engraved coat-of-arms, 3 folding engraved maps (Middlesex, London and Westminster), repairs with some loss (substantial in 4 cases) to most text leaves (just touching title and coat-of-arms), bookplate of Lord Newland, early twentieth-century calf gilt, joints weakened [STC 18635; Howgego 5.1], small 4to, [Eliot’s Court Press], 1593 £600 - 800 €700 - 930

64 • PERCY (THOMAS) Reliques of Ancient English Poetry: Consisting of Old Heroic ballads, Songs, and Other Pieces of our Earlier Poets, 3 vol., FIRST EDITION, WITH A LOOSELY INSERTED NOTE PARTLY IN THE AUTHOR’S HAND, engraved frontispiece, title vignettes and head- and tail-pieces by Grignion after Wale, dedication to the Countess of Northumberland [by Samuel Johnson], engraved leaf of music at end of volume 2, errata leaf at end, half-titles in volumes 2-3 as called for (but without blank A1 in volume one, and advertisement and ‘To the Binder’ leaves in volume 3), a little light foxing at beginning of volume one, early nineteenth-century russia, spine gilt, g.e., one or two joints skilfully repaired [Rothschild 1521; Courtney & Nichol Smith, p.111; Hazen, Samuel Johnson’s Prefaces and Dedications, pp. 158-168)], small 8vo, J. Dodsley, 1765 £600 - 800 €700 - 930

A fine association copy, with a loosely inserted note headed “30 Hermit, gilt”, mainly in the hand of an amanuensis but with autograph additions by Percy. The note comprises a list of recipients of copies of Percy’s Hermit of Warkworth, 1771, and includes “6 Do. uncut, presents”, “8 to Northumberland House”, “4 to Edinburgh”, and one copy each to the playwrights Samuel Dyer, George Colman, Amyas Bushe, Mrs. Anna Williams, Mrs. Anne Penny and W. Hawkins. The last two have been added alongside the main list in Percy’s hand, along with “Mr(s) Lettice” and “Mr Turner”.

Provenance: The Duke of Northumberland, with a loosely inserted engraving (the title-page vignette for the Hermit of Warkworth), inscribed “Ex dono Ducis Northumb”; William Beckford (see loosely inserted article refering to the binding and Hamitlon palace Sale of 1882-1883); purchased from Dawsons of Pall Mall, 1977; Professor Timothy Smiley.

Books, Maps, Manuscripts & Historical Photography | 51 66

65 • PETRUS LOMBARDUS Sententiarum libri IV [with Commentary by Bonaventura], 5 parts in 4 vol., 967 leaves (of 968, lacking title to first part), 64-65 lines of commentary with headline, Gothic letter, capital spaces, many with guide-letters, later vellum, ink titles on spines [ISTC ip00487000; BMC III 694; Goff P487; GW M32509; H 3541*, H 3540*], folio, Freiburg im Breisgau: Kilianus Piscator (Fischer), [not before 2 May 1493] £1,000 - 2,000 €1,200 - 2,300

A reprint from Koberger’s 1491 edition, on of reduced number of leaves. “The name of Kilianus Piscator has been unmetrically substituted for Anthonius Koberger in Bekenhaub’s introductory verses, and the date of the letter to Nicolaus Tinctoris has been altered to 2 May, 1493, from 2 March, 1491”. Each column of Petrus Lombardus’ text is surrounded or flanked by commentary by Bonaventura.

66 • PINE (JOHN) The Tapestry Hangings of the House of Lords: Representing the Several Engagements between the English and Spanish Fleets, in the Ever Memorable Year MDLXXXVIII, 2 vol. including Atlas, second edition, text volume containing engraved title within decorative border, dedication to the King, 2-page list of subscribers and 24 pages of text by Philip Morant, Atlas volume containing 2 engraved maps of Cornwall & Devon and the Thames (each dated 1740, not described by the Berlin Katalog and often not present), 5 double-page plates each with 2 engraved maps (numbered I-X), one double-page map of the British Isles showing the track of the Armada, and 10 double-page plates of the sea battle printed in green/blue within decorative borders incorporating medallion portaits, after Lempriere and Gravelot, some foxing and creasing, light dampstaining and one or two tears in margins, chart of the Armada and map X with stain and hole affecting image, contemporary half sheep, worn, joints cracked [Berlin Kat. 1677], folio (plate volume 520 x 375mm.), J. Pine, To be had at the Golden Head against Burlington House Piccadilly, 1745 £6,000 - 8,000 €7,000 - 9,300

Following the defeat of the Spanish Armada in 1588, Robert Adams was commissioned by Lord Howard of Effingham, commander of the British Fleet, to produce a series of charts and engravings representing the various phases of the battle. From these Hendrik Cornelius Vroom designed the series of tapestries which were later sold to James I and hung on the walls of the House of Lords from 1650 until they were destroyed in the Palace of Westminster fire of 1834. The present copy is the seemingly scarcer second edition of Pine’s engravings of the tapestries, the first edition having appeared in 1739.

52 | Bonhams 67 67 POMPEII - BAYARDI Letter signed and subscribed by Ottavio Antonio Bayardi, to an unnamed noble correspondent, praising God for the work on papyri achieved so far: “Lode a Dio Felicemente Si vanno Sviluppando i papyri. Uno Scolpio Genovese di somma manuale abilità mandato da Monsig.re Assemani Si è accinto all’impresa, e le riesce. Non rutti potranno svilupparsi, essendone la maggior parte divenuti Carbone, ma in alcuni riesce, e riuscirà l’operazione dello Scolopio. In quanto poi al formarne l’alfabeto, Siccome non è cosa molto difficile, cosi essendomici accinto. Con somma facilità ne sono venuto a Capo. Sciolto che se ne sia qualcheduno, tanto quanto bassi per ricavarne degli interiser si ne’ darò a VS. Ill.ma ragguaglio...”, 2 pages, with integral blank, guard, 4to, Naples, 28 August 1753 £400 - 600 €460 - 700

‘LODE A DIO FELICEMENTE SI VANNO SVILUPPANDO I PAPIRI’: ANTONIO PIAGGIO BEGINS WORK ON UNROLLING THE PAPYRI DISCOVERED AT THE HOUSE OF THE PAPYRI, HERCULANEUM. The author of this letter, Ottavio Antonio Bayardi (1694-1764) was compiler of the Antichità di Ercolano esposte, published in eight volumes at Naples between 1757 and 1792. He had been on a mission to Pompeii to purchase antiquities for the royal collection, and got his friend Assemani to recommend the Genoese Antonio Piaggio from the Vatican – here described as the “Scolpio Genovese di somma manuale abilità mandato da Monsig.re Assemani” – to work on the papyri. Piaggio managed to unroll eighteen of them over the space of forty-four years (the machine he was to invent for this purpose in 1756 being on display at the Museum of Archaeology). The carbonised rolls represent the only library from the ancient world that has come down to us.

68 POPE (ALEXANDER) Receipt signed (“A. Pope”), for two guineas received from Richard Hill as first payment ‘to the Subscription, for the Translation of Homer’s Iliads; to be delivered, in Quires, to the Bearer hereof’, subscribed “To Mr Lintott Bookseller/ Fleet Street”; printed with manuscript insertions, 1 page, browned, especially towards the right- hand edge, minor chips to edges, oblong 8vo, [c.1715] £400 - 600 €460 - 700

Pope himself described these receipts as ‘a sort of little epigrams... after the manner of rondeaus, which begin & end all in the same words; viz. Received – and A: Pope’ (see Maynard Mack, Alexander Pope: A Life, 1985, p. 268). The subscriber appears to be the Richard Hill who was a friend of Pope’s early mentor, the diplomat and Secretary of State Sir William Trumbull, and himself a distinguished diplomat, remembered still as champion of the Vaudois.

Books, Maps, Manuscripts & Historical Photography | 53 69

69 • [PREVOST d’EXILES (ANTOINE FRANÇOIS)] Histoire générale des voyages, ou nouvelle collection de toutes les relations de voyages par er et par terre, qui ont été publiées, vol. 1-19 (of 20), first edition, titles printed in red and black, engraved portrait frontispiece, 509 engraved plates, plans and maps (many folding), folding letterpress table, occasional moderate browning and spotting, several lower corners torn off, title to vol. 14 repaired, bookplates of Stowe Library and Matilda Constance Ismay, contemporary calf gilt, MM monogram with crown gilt on sides, spines gilt within raised bands, red and dark green morocco labels, extremities a little rubbed, occasional staining and scuffing, 4to, Paris, chez Didot, 1746-1789 £2,000 - 4,000 €2,300 - 4,600

A HANDSOMELY BOUND SET of “An important and scarce collection which includes accounts of all the principal early Australian voyages, as well as an account of the discovery of Australia by the Dutch, early voyages to New Guinea and the Palau Islands, and Roggeveen’s voyage to Terres Australes, African voyages including the early Portuguese and English voyages to West Africa and the Cape of Good Hope, with a general account of the Dutch at the Cape. Pacific voyages include those of Magellan, Schouten, and Le Maire, Drake, Sarmiento, Cavendish, Spilbergen, Narborough, Rogers Cowley, Frazier, and Anson. Particularly full accounts are given of the Dutch and French voyages to the East Indies, voyages to China, and the British East India Company’s voyages to India and Ceylon” (Hill). The twentieth volume of the first edition was published at the onset of the French Revolution and is consequently scarce.

70 • RAFFLES (THOMAS STAFFORD) The History of Java, 2 vol., first edition, engraved frontispieces, 10 hand-coloured aquatint plates, 53 uncoloured engraved plates, one folding engraved map hand-coloured in outline, one letterpress plate, 2 letterpress tables (one folding), without half-titles, later half calf, gilt morocco spine labels [Abbey Travel 554], 4to, Black, Parbury, and Allen, 1817 £1,500 - 2,000 €1,700 - 2,300

54 | Bonhams 70

Books, Maps, Manuscripts & Historical Photography | 55 71 71

71 • RECIPES – HOUSEHOLD and MEDICAL Volume of medical and household recipes, kept in several hands, the earlier ones characteristic of the late seventeenth century (up to p. 72), with the final section in a late eighteenth-century hand (this section beginning with a recipe from Lloyd’s Penny Post of 1770); prefaced by an index on quartered pages with rubricated initials at the right-hand side drawn in an archaic manner, with a list of “The Characters and value of medicinall Weights”; later ownership stamps and inscription of Anna Rogers (6 April 1765), 83 numbered pages, plus unused pages (up to p. 256), ruled margins, very light dust-staining but overall in fine and attractive condition, contemporary Restoration binding of red morocco gilt with all over design of draw handle tools, stars, flowers, etc., possibly by Queen’s Binder D (who worked for James II), gilt panelled spine, initials [?] RR under an earl’s coronet in the third compartment, gilt edges, minor abrasion to lower cover, folio, [c.1680- 1695] £10,000 - 15,000 €12,000 - 17,000

A FINELY BOUND RECIPE BOOK BELONGING TO ROBERT PASTON, FIRST EARL OF YARMOUTH, OF OXNEAD HALL AND HIS WIFE REBECCA, the volume being identifiable by three entries, on p. 44 a recipe headed “My Mother Clayton’s nourishing Broth”, on p. 37 a recipe headed “My Father Sir William Pastons medicine for the gout”; and a recipe on p. 38 with the same attribution. This identifies the compiler as Rebecca Clayton, daughter of the London haberdasher Sir Jasper Clayton. On 15 June 1650 she married Robert Paston, son of Sir William Paston, who was created Earl of Yarmouth on 30 July 1679. This identification is confirmed by the earl’s coronet over an entwined double-R on the spine. The Clayton-Paston alliance produced six sons and three daughters. Rebecca died on 16 February 1694.

Paston entertained Charles II at Oxnead in 1671 and had a magnificent library – as this volume confirms – although one that was under constant threat: ‘He was a devoted husband and father. He was too corpulent for field sports and suffered from persistent ill health, notably gout: walking was difficult and he was seldom free from pain. He also had chronic financial problems, stemming from his and his father’s habit of spending more than they could afford, but exacerbated by his father’s wartime losses and his own large family. He continued to embellish Oxnead, building a banqueting house for the royal visit in 1671. Meanwhile the estate dwindled, as he mortgaged more manors and sold off part of his collection. His letters are full of complaints about the miseries of debt and schemes for making money; his library contained many works on alchemy, astrology, and magic’ (John Miller, ODNB). His son, the second Earl, died penniless in 1732, and had no heirs.

Books, Maps, Manuscripts & Historical Photography | 57 Something of the ambience of Oxnead is reflected not just in the book’s binding, but also in its contents; recipes for example including: “A fine black tincture for cabinets”, “The black for Joyners worke/ as Picture frames &C:”, “The Art of Marbling clouding or chamletting upon paper sett in leather calicoe”, and “The fine white Vernish for Prints & pictures”. The bias of the Oxneath library towards ‘alchemy, astrology, and magic’ is reflected by one recipe in particular, to be found on p. 46, headed: “These following Secretts were given me be Mr Carie Raleigh, being written in Sir Walter Raleigh’s owne hand in a select booke for his owne use from whence I coppied them Aprill the 12. 1659” (there is also, on p. 57, “Sr Walters Raleighs great and famous Elixir or cordiall water”). This “select booke” is the one now in among the Sloane MSS in the British Library. While this volume is not unusual in containing a recipe for the ‘great cordial’, the immediacy of its provenance marks it out from other examples cited by Peter Beal, Index of English Literary Manuscripts, Vol. I, pt. 2, 1980, RaW 719-725, the “select booke” being RaW 711). It is pleasing to know from this intimate little scene that Carew, who died in 1666, was doing his bit to help keep alive his illustrious father’s memory.

This volume will, one can be sure, reward further investigation, not least as regards the question of handwriting. It appears, for example, that the Carew Ralegh recipe is in a different (or at least clearer) hand than the bulk of earlier entries, a supposition being that it is in the Earl’s hand while others are in those of his wife; either way, this is a question easily settled by comparison with the surviving Yarmouth correspondence. Similarly, the index, with its pseudo-gothic (or alchemical) rubricated initial letters, would appear to reflect the Earl’s alchemical-cum-antiquarian interests. If either is the case, Yarmouth’s participation would disabuse us of the notion that such recipe books belonged exclusively in the female domain.

72 • RECIPES – MEDICAL Early eighteenth-century book of medical recipes, kept in several similar hands, many of the recipes bearing attributions, some to well-known physicians; prefaced by an index of disorders and “Directions Concerning Weights”, “Chyrurgical Directions”, lists of “Opening Roots” and “Maidenhairs”, and of “Cordial Flowers”, wind flowers, hot flowers, etc.; with additional observations of recipes for animal husbandry added at the end; with annotations, additions and paste-overs in a near-contemporary hand, 175 numbered pages plus additional pages at the end, and blanks, some dust-staining and slight wear through use but overall in excellent condition, contemporary limp vellum, remains of ties, folio, [early eighteenth century] £600 - 800 €700 - 930

Among medical authorities cited are, on p. 7 Sir Thomas Brown (1605-82): “Sir Tho: Browns drinke for the stone in the Kidneys and bloody Urine”; p. 70: Thomas Short (1635-85): “Doctor Thomas short of London his sneezing Powder for Diziness”; p. 76: Sir John Hinton (1603-82): “Sir John Hintons Directions for the Gripes & Chollick approved by several”; p. 162 Sir Francis Prujean (1597-1666): “A Receit for the eyes... which the Lady Mabbol had of Sir Francis Pridgeon which for above 7 Year Last past hath caused her to Lay aside Spectacles which she was Constrained to use for 30 Yeares before being not able to read without them but now without their help can thred the smallest Needle readily at her Age of 83 Years”. Some attributions, such as that to “Cosen Branthwait” on p. 162, may help identify the compiler(s) or household.

Seemingly reflecting an older tradition are recipes such as that to be found on p.79: “for a Rhum in the Eyes/ first lay a live Pidgeon split to the soales of their fee it must lye 24 hours then take the white of a newe laid egge & stir it round with a peice of Allum till it comes tp a Substance like Curds then lay some them to either eye upon a little flax & boulster them up, & bind them downe close & let them lye upon their backs 2 hours after it must lye on all night & 2 hours after dinner”.

On the penultimate pages of the main sequence, p. 174, is “A Medicine for Biting of a Mad Dog as was s.d to be used 1724”. On p. 126, we find directions that the recipe book may have been in use in a prosperous London household: “You may have the Miselto at the Corner of ironmongers Lane in Cheapside: & the temporate Cordiall at Mr Gardiners against the Countesse of Keualls in Pell Mell”.

73 RESTORATION LONDON Late seventeenth century manuscript of the ‘Mysteria Revelata’ of John Collins, being “A true, plaine, and impartiall Narrative, and Relation of severall matters and transactions concerning his Majesties late happie restauration, with some other circumstantiall matters, and passages precedent or consequent therupon”, prefaced by verse summary headed “Certaine Memorialls and Annotations on the late Duke of Albemarle...” (opening “Now that the Duke’s defunct and evrie Poett...”); Phillipps MS 4897 (listed in the Catalogus Librorum as from the collection of the historian and Non-Juror, George Harbin, c.1665-1744), purchased for £1-10s at the Phillipps sale, Sotheby’s, 21 March 1895, c.145 pages, bookplate of the Devonshire historian, T.N. Brushfield, half calf, cloth covered boards with the ticket of Bretherton 1845, original titled upper vellum wrapper bound in, light dampstaining towards the end, folio, [1674] £1,000 - 1,500 €1,200 - 1,700

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AN AUTOBIOGRAPHICAL NARRATIVE OF THE RESTORATION BY A CONTEMPORARY OF PEPYS: while Pepys’s narrative is of course told by a member of Admiral Montagu’s circle, Collins tells the same story from the vantage point of a member of General Monck’s circle; the two accounts in this respect being complementary. There is evidence that our manuscript was prepared under its author’s supervision (see below).

Our narrative was first published from another manuscript by the Historical Manuscripts Commission in 1899, where John Collins is identified as its author: ‘The Narrative is the work of a foolish man, but there is much in it that is interesting, and its frank conceit is amusing. It is primarily an attack upon... the view that “Monk was he that did bring in the King.” It is preceded by a sketch of the argument in doggerel verse. According to Mr Collins, he himself was the man that did bring in the King... The narrator pictures himself as hurrying about from Speaker to General, from General to City, from City back to General, until he gradually brought everybody into a right frame of mind, and the Restoration was happily accomplished... In spite, however, of the vanity of the narrator, there is, as before said, much of interest in the narrative, and a good deal to be learnt from it as regards Monk, and his relations with the Speaker, the City, and the Parliament... There are a good many scraps of information, too, about the doings in the City, and the gradually awakening loyalty there, as shown at the banquets given to Monk and his officers, where the Temple musicians were told they must give up their ‘’usual old songs”’ (Report on the Manuscripts of F.W. Leyborne-Popham, 1899, pp. xvi-xvii). For a further discussion of the text, see R.C. MacGillivray, Restoration Historians and the English Civil War, 1974, p.53).

Although Collins’s claims of influence with Monck may be far-fetched his narrative does provide a vivid sense of the times and indeed of its bumptious author, and possesses something of the flavour (if not perhaps the genius) of Pepys: “I attended his Lordship [Monck] forth from the Councell that Evening, where the Hall and rooms above, being full throng’d with Citizens of all sorts, rejoyceing att the Welcome newes of filling uppe the parliament, his Lordship att his coming forth, laid his hand upon my right Arme, and soe I had the Ushering of Him downe staires into, and through the Hall, where the people generally cry’d out God bless your Lordship and through that throng I usher’d him to his Coach standing in the Yard, whence his Lordship sent Mee backe to the Councell of Aldermen, to knowe of them, where Hee should Quarter?” (MS, p. 85).

Comparison of this manuscript with the Leyborne-Popham MS may determine its exact status. It is written in what appears to be a contemporary scribal hand; although at one point there is a clearly authorial addition which, it is reasonable to assume, is autograph. The interpolation is made at a particularly significant point in the narrative, when Collins is explaining how he played a significant part in persuading the Speaker to side with King rather than Commonwealth (the Speaker in question being the redoubtable William Lenthall, whose support of Monck was in the event crucial). In order to do this, he would have us believe that he suppressed the true import of Monck’s message, which was in favour of the Commonwealth. First, he delivers Lenthall’s request for advice to Monck: “I soone after in the Evening late att St James’s, when I had the Generall all alone, did deliver to Him in the best manner I could, Whereupon Hee verie seriously willed Mee to retorne this Answer from Him to the Speaker, which was in these words, That by any meanes Hee should Steere (or hold on) for a Commonwealth ffor Hee doubted nott butt they should get ground of the other parties”. The passage that Collins has added to our manuscript continues the account: “everie day, Which Answer I confess I forbore fully to deliver to the Speaker, As Hee soone afterwards found by the Generals action & told mee of itt, And withal, how obstinate Hee found the Generall against the King’s restauration, upon his more private discourse with Him” (MS, p. 105). This additional passage occurs in the Leyborne-Popham MS which (unless also an interpolation) indicates that it post-dates ours.

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60 | Bonhams 74 • ROBERTS (DAVID) The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia, 6 vol. bound in 3, 248 tinted lithographed plates (including pictorial titles), 2 engraved maps, occasional spotting and dampstaining (largely marginal), one plate loose, contemporary half morocco, rubbed [Abbey, Travel 272, 385 & 388], 4to, Day, 1855-1856 £1,500 - 2,000 €1,700 - 2,300

75 • [ROBERTS (JAMES AND HENRY)] The Sportsman’s Companion: or Portraitures, Pedigrees and Performances, of the Most Eminent Race Horses & Stallions, Represented in Variety of Attitudes. Interspersed with Tail-Pieces & Embellishments Alluding to the Sport. Calculated for the Utility and Entertainment of the Nobility, Gentry, Breeders, &c., letterpress title, 40 engraved plates by James and Henry Roberts (2 with neat tear), engraved index leaf, publisher’s 4-page catalogue (with woodcut image of cocks fighting), stitched in wrappers, some loss to spine [Huth, p.38; cf. Podeschi 54], 8vo, J. Barker, Russell-Street, Covent-Garden, [c.1800] £1,500 - 2,500 €1,700 - 2,900

Fine series of plates, each depicting a famous horse with his rider or stable-hand, and recording it’s pedigree, qualities and racing record, together with the owner’s name. The horses all ran between 1708 and 1755. The first edition was published in about 1760, and this Barker edition some forty years later. This copy has no watermarks, but the books listed in J. Barker’s catalogue of publications were mostly published in the 1790s.

76 • ROE (THOMAS) The Negotiations of Sir Thomas Roe, in His Embassy to the Ottoman Porte, from the Year 1621 to 1628 Inclusive, first edition, edited by Thomas Carte, engraved vignette on title, without the portrait (as often), some spotting, contemporary calf, rebacked and refurbished [Atabey 1050; Blackmer 1442; Goldsmiths 7743], folio, Printed by Samuel Richardson, at the Expence of the Society for the Encouragement of Learning, 1740 £600 - 800 €700 - 930

Thomas Roe was appointed ambassador in Constantinople in 1621, where he was a pivotal figure in negotations with the Levant Company, and “despite desperately violent, lawless times Roe maintained a prompt, accurate flow of political and commercial information” (ODNB).

77 RUSKIN and LOWELL Autograph letter signed by James Russell Lowell to John Ruskin, expressing his delight that Ruskin should admire his work: “My dear Mr Ruskin,/ to have made one man happy in a lifetime is worth living for, & you have made me happy and proud too in writing to Norton that you counted me ‘among your friends’. That you may take for granted, but I must go farther & say ‘among your debtors as well’. My proportion of a debt which I share with all who speak or read the English tongue may be small as far as it concerns you, but to me it is great & lifelong. We all quarrel with you sometimes, but what good could we get from a man who prophesied smooth things? & I am sure that I am not assuming too much when I say that in giving you my hearty thanks for what you have done, I am only doing what all the men whose opinion you would care for in America would gladly do if they had the same pretext for it that I have. I offer you my hand with all my heart, & I pay you my fealty also as to the man who has done for Art what Wordsworth wished to do for Poetry”; and asking him if he could contribute an article to the Atlantic Monthly; ending in the persona and feigned hand of Hosea Biglow: “i go in for the A buv like all git eout/ Hosea Biglow”, 4 pages, blind-stamped initial ‘L’, 8vo, Cambridge, Massachusetts, 22 November 1859 £2,000 - 3,000 €2,300 - 3,500

‘I OFFER YOU MY HAND WITH ALL MY HEART, & I PAY YOU MY FEALTY ALSO AS TO THE MAN WHO HAS DONE FOR ART WHAT WORDSWORTH WISHED TO DO FOR POETRY’: LOWELL’S FAMOUS LETTER OF TRIBUTE TO RUSKIN. Charles Eliot Norton, their mutual friend, had sent Ruskin a copy of Lowell’s volume of abolitionist verses, The Biglow Papers, published the year before. Ruskin wrote to Norton on 24 October telling him Lowell ‘does me more good in my dull fits than anybody, and makes me hopeful again’, praise which elicited the present letter. Ruskin acknowledged Lowell’s letter on 5 December: ‘It was indeed a happy morning for me this, bringing me your letter’. But the article for the Atlantic Monthly, which Lowell had helped found in 1857 and edited, was not forthcoming.

See illustration overleaf.

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78 • S. (E.) An Heavenly Portion of Spiritual Treasure, and Divine Truths; Bequeathed by a Parent to Children, for Confirming Them in Knowledge of the True Faith of Christ, in these Unsetled and Wavering Times... by E.S., title within rule border, frayed at fore-margin of opening and final gatherings (just touching a few letters), ownership inscription of Samuel Weekes (1791) inside covers, contemporary calf [not listed on ESTC or COPAC], 8vo, Printed for the Author, and Sold by N. Crouch, 1668 £600 - 800 €700 - 930

UNRECORDED ON ESTC AND COPAC. In 1670 A Spiritual Portion of Heavenly Treasure, bequeathed... as his last legacy to his wife and children (Wing W1603) was published, written by William Wheeler, a minister at Cranfield in Bedfordshire. The title of this work suggests knowledge of An Heavenly Portion of Spiritual Treasure by “E.S.”. Nathaniel Crouch published one other title, at the same address, in 1668. This was Seasonable Truths in Evil Times by William Bridges.

Collates: pp. [12], 160; A-L1-8, without ?A1-2 (but seemingly complete).

79 • SCOTT (WALTER) Marmion; A Tale of Flodden Field, FIRST EDITION, AUTHOR’S PRESENTATION COPY, INSCRIBED TO SOPHIA DUMERGUE (“Miss Dumergue from her affectionate friend Walter Scott”) on front free endpaper, and with her ownership signature (“S. Dumergue”) on title, contemporary diced calf gilt, Greek roll-tool border on sides, flat spine with harp device, upper joint splitting, 4to, Edinburgh, Archibald Constable, 1808 £1,000 - 1,500 €1,200 - 1,700

A fine presentation copy, inscribed by Scott to Sophia Dumergue (1768-1831), the daughter of his close friend Charles Dumergue, who moved from France to London to set up a successful dentistry practice.

Books, Maps, Manuscripts & Historical Photography | 63 80 SCOTT (WALTER) File of papers relating to the authorial career of Walter Scott, in relation to his publishers, Archibald Constable and Robert Cadell, and to his printers, James Ballantyne & Co (in which he was a partner), and to their subsequent bankruptcy, including the draft, with substantial autograph additions by Scott, of the deed of 1819 selling the copyrights of his novels and poems to Constable, and his autograph draft clause retaining his anonymity as author of the Waverley, the archive including:

(i) Draft “Agreement with Walter Scott for Literary Property 2 Feby”, with autograph addition and alterations by Scott (amounting to some ninety words), stating that “The said Walter Scott Esq.re hereby conveys in total right proprietary right & occupation to Messrs Constable & Co for their use holding & benefit from this time henceforth saving always his right of security hereafter mentioned all and whole his entire shares in the copy rights of the following works; renouncing hereby for himself and his heirs all claim thereto and interest hereafter therein: Viz His personal share”; then listing each work, specifying whether each is full share, half share, eighth share or none, namely: Waverley, Guy Mannering, The Antiquary, Rob Roy, Tales of My Landlord, parts 1, 2 and 3, The Bridal of Triermain, Harold the Dauntless, The Roderick Collection, Sir Tristram, Pauls’s Letters to His Kinsfolk, first part, The Lay of the Last Minstrel, The Lady of the Lake, Rokeby and The Lord of the Isles, “In consideration whereof the said Archibald Constable & Co hereby agree to pay to the said Walter Scott the sum of Twelve Thousand pounds in the proportions and at the periods after mentioned: Viz Two thousand pounds at two years date after this second of February 1819/ The further sum of 2000 at 3 years date; ---- £2000 at 4 years date; ---- £2000 at 5 years date; ---- £2000 at 6 years date; and a present sum of £2000 on bond, for which Mr Scott has already received the amount; making this in all £12,000”, with a note by Scott in the margin: “X It being further agreed & provided that Mr Scott shall pay the Interest on the said two Bonds down to the term of 2nd February 1821 after which day Messrs Constable & Company shall relieve Mr Scott of the said Interest”; after giving further particulars of the bonds, the deed concludes: “And the said Archibald Constable & Co hereby agree that they will in no case avow, or sanction the avowal of the name of the Author of Waverley Tales of Landlord &c /[added in pencil] during his life/ under a penalty of two thousand pounds; and they further agree, as a Security to Mr Scott on this transaction that the Copyrights of the Poems & Poetry described in this annexed first page shall not be held to be their final property until their part of this bargain shall have been implemented by the total payment of the £12,000 engaged for on their part, being made”; the deed subscribed by Scott with a table setting out the payments due for 1821, 1822, 1823, 1824, 1825 and 1826, totalling £12000; docketed for filing on the verso “1819/ Agreement with Walter Scott for Literary Property 2 Feby/ Scotts/ agremt holograph enclosed”; plus an abbreviated paraphrase made in 1826, 3 pages, on paper watermarked with Britannia and ‘M/ 1804’, minor weakness at folds and light dust-staining where folded for filing and exposed, but overall in attractive and fresh condition, 4to, 2 February 1819

(ii) Draft of an agreement for the same transaction, seemingly in the hand of John Ballantyne, headed Edinburgh, 2 February 1819, beginning: “Mem.dm of agreement entered into by Walter Scott Esq on the one side & Messrs A Constable & Co on the other part – that is to say...”, with revisions and deletions, 3 pages, 4to

(iii) Autograph memorandum by Scott: “The novels to remain anonymous till the authors death. To ensure this in case of accident a penalty to be annexed to the breach of the article/ The printing to be at Mr Scotts option but to be done as cheap as else where. This only refers to J. B’s affairs./ The Bond of £2000 might make part of the paym.t C. relieving W.S. of the sum & taking his own turn for payment.”; plus a fair copy in a clerical hand on paper watermarked 1825, 1 page, on a slip of paper with partial watermark ‘JWhat[man]/ 181[?1 or 4]’ [last digit incomplete], folded for enclosure, slight dust-staining on blank verso, 8vo, [2 February 1819]

(iv) Autograph letter signed (“WS”) by Scott to “Mr Constable/ With a book”: “There can be no objection whatever on my part to your doing whatever you think most advantageous with the New Matter”, and returning the “Fossbrooke” [i.e. Fosbrooke’s British Monachism, used by Scott in writing The Monastery and The Abbot] , 1 page, black wafer-seal, 8vo, 31 December 1819

(v) Retained copy of a letter by Constable’s to Walter Scott, subscribed “Signed A Constable”, docketed as “agreeing to our Making use of the Miscellaneous Poetry” (“...The additions you have been so good as to make to the Collection are valuable and much oblige us. Fuerman & Harold have not done quite so well as we expected, and we have thought it might be useful to add the new matter to a few Copies of these Poems which has just come from the Press – I suppose you would not disapprove of our doing so to help us a little further with our big bargain in these bad times...”), 2 pages, paper watermarked 1818, plus integral blank, 4to , Edinburgh, 30 December 1819

(vi) Autograph letter signed by John Gibson Lockhart, to Archibald Constable, discussing his proposal for a Scott edition of Shakespeare [of which only three volumes were printed and none sold], opening: “I have had a good deal of communication with Sir Walter Scott about the Shakespeare and I believe there will be no difficulty to the plan started by either of us, in case you have quite made up your mind. It is indeed quite impossible that anything should be handsomer than your proposed arrangements & I can only say that I honestly believe you are the only bookseller the world ever saw that was capable of conceiving & executing such schemes. Long may you both conceive & execute”; to this end he asks Constable to supply “a copy of Johnsons & Steevens to be interleaved with quarto paper – for I think that will be the likeliest way for Sir W. to read over & add to my Notes without too much trouble”, adding that “The Baronet & all the family here are as well as possible”; autograph address, leaf, seal, Melrose postmark, docketed by recipient “1823/ J G Lockhart/ Abbotsford/ 28 April”, 3 pages, 4to, Abbotsford, 28 April 1823

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(vii) Autograph draft of a long letter to Sir Walter Scott, evidently by Constable, setting out in great details the proposed edition of Shakespeare, 3 pages, 4to

(viii) Bond signed by Archibald Constable (for his company and for himself) and Robert Cadell, to “Walter Scott, Esquire of Abbotsford” for £2,100, payable in 1823, witnessed by John Kermack and David Constable, duty-stamped, 1 page, on paper watermarked with Britannia and ‘Sharp/ 1804’, oblong folio, 1819

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(ix) Papers relating to bonds issued by Walter Scott and Archibald Constable & Co, including three letters, to Sir Walter Scott and Archibald Constable & Co, by James Nicolson, John Kermack and Kermack as representative of the late John Ronaldson, agreeing to a deferment of dates at which bonds owing to them are payable, all dated 9 July 1823; retained copy of Nicolson’s bond; a discharge signed by James Hope, as trustee, in respect of his bond

(x) Group of memoranda setting out questions, with answers, asked by the Trustees for the Estate of Archibald Constable & Co of Robert Cadell, regarding: “the Contracts with Sir W. Scott [deleted] Mr Ballantyne [inserted] for two works of Fiction to be written by the Author of Waverley”, “the publication of the History of Scotland by Sir W. Scott”, “the publication of Woodstock”, “Shakespeare by Sir Walter Scott”, ‘the ‘Life of Napoleon Buonaparte’”, “relative to Bonds understood to be secured on the Copy rights of some of the Works of the Author of Waverley”, “Scotts Miscellaneous Prose Works”, and “’Travels on the Continent’ by Sir W. Scott”; with questions put to Constable regarding Woodstock and Bonaparte

(xi) Rough notes on bills drawn by Walter Scott and John and James Ballantyne in 1817, 2 pages, 4to

(xii) List, addressed to Cadell, of monthly receipts from July 1821 to June 1822, under the headings of “Poetry” and “Novels”, subscribed with calculations, evidently by Cadell, 1 page, 4to, [c.1822/3]

(xiii) Rough note headed “Edin 23 Sept 1818/ Statement of uncovered engagements at this date to Sundries”, listing those to “Author of 3d series of Tales”, “WScott”, “Jas B &Co”, “Jno B”, amounting to over £10,000, 1 page, 4to

(xiv) List of copyrights of eighteen works, from Waverley to Marmion, docketed “Walter Dickson W.S.”, 1 page, 4to; with another similar £20,000 - 30,000 €23,000 - 35,000

‘THE NOVELS TO REMAIN ANONYMOUS’: WALTER SCOTT SELLS THE COPYRIGHT OF ‘WAVERLEY’, ‘ROB ROY’ AND HIS OTHER WORKS TO CONSTABLE, in what has come to be seen as a landmark transaction in publishing history, together with papers relating to the ensuing bankruptcy of Scott and his publishers.

The present set of papers appears to derive in part from the papers of Scott’s publisher, Constable, and were probably put together by Walter Dickson, WS, or a similar party when acting for the Trustees of the Estate of Archibald Constable & Co (see the group of questionnaires above). Many of them, such as draft of 1819 for the sale of Scott’s copyrights to Constable and Scott’s autograph stipulation that he remain anonymous, long pre-date the bankruptcy. Taken together, they chart the rise of Constable as a publisher, and the collapse of 1825-26: ‘If the three great projects of Constable’s first twenty years as a publisher were the Edinburgh Review, the Encyclopaedia Britannica, and Walter Scott, his ambition in the 1820s was to revolutionize publishing. On 17 January 1819 he offered Scott £12,000 for the purchase of all his copyrights, in fiction, in poetry, and in prose; Scott was initially reluctant, but was talked into agreement. Part of the objective was, as argued above, to secure Scott as a Constable author... Working with his new partner in London, Hurst, Robinson & Co., Constable was realizing the value of literary property in a way no previous publisher had attempted’ (David Hewitt, ‘Archibald Constable’, ODNB).

Some of this material is published by Thomas Constable, Archibald Constable and his Literary Correspondents, iii, 1873, p.246, for example the letter by Lockhart to Constable (vi above), while others, such as Constable’s draft letter to Scott (v), or Scott’s letter to Constable (iv), have not.

66 | Bonhams 81 82

81 • SCRIPTORES Scriptores Historiae Augustae, 2 parts in one vol., 172 leaves, 54 lines, Roman letter, capital spaces with initials in alternating red and blue, numerous scholarly ink annotations in the margins, early inscription partially obscured (with old paper label) on verso of aii, some browning and occasional light dampstaining (mostly marginal), opening leaf with tear repaired, seventeenth-century vellum, some loss and wormholes to spine [ISTC is00342000; BMC V 417; Goff S342; GW M44247; GW M44253; HC 14563*], folio (295 x 208 mm.), Venice, Joannes Rubeus Vercellensis & Albertinus Vercllensis, 15 July, 1490 £3,000 - 4,000 €3,500 - 4,600

“This edition was begun by Rubeus before October, 1489 and interrupted at the end of quire C...”, with some copies completed by Rizus (BMC).

82 • SMITH (THOMAS) De Republica Anglorum. The Maner of Governement or Policie of the Realme of England, black letter, title within typographical border, bookplate of Robert Arundell Hudson, late nineteenth-century half calf gilt [STC 22858], small 4to, Henrie Midleton for Gregorie Seton, 1583 £600 - 800 €700 - 930

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83 • SONNERAT (PIERRE) Voyage aux Indes Orientales et a la Chine, fait par ordre du Roi, depuis 1774 jusqu’en 1781, 2 vol., half-titles, 140 engraved plates, additional folding engraved map hand-coloured in outline (“Carte des Indes et de la Chine” by Guillaume Delisle, 1781), contemporary calf gilt, rebacked preserving original spines [Hill 1608; Lust 353; Nissen IVB 886], 4to, Paris, l’Auteur, Froulé [and others], 1782 £1,000 - 1,500 €1,200 - 1,700

FIRST EDITION of a “celebrated classic of natural history exploration and discoveries in the Far East” (Hill). The author travelled to India, China, Ceylon, Ceylon, the Philippines, Burma, Madagascar, the Cape of Good Hope and elsewhere.

84 • SPIERA (AMBROSIUS DE) Quadragesimale de floribus sapientiae [edited by Marcus Venetus], 312 leaves (of 314, without intial and final blank), 60 lines and headline, Gothic letter, double column, capital spaces, most with guide letters, woodcut device on colophon, final gathering slightly shorter, neat ink marginal annotations throughout (some shaved), modern vellum [ISTC is00681000; BMC V 436; Goff S681; GW M43134; HC 922*], 4to (223 X 170mm.), Venice, Bonetus Locatellus for Octavianus Scotus, 20 Feb., 1488/9 £1,000 - 2,000 €1,200 - 2,300

85 • [SPINOZA (BARUCH)] Tractatus theologico-politicus continens dissertationes aliquot, with errata leaf, title soiled, some browning, blindstamp on title, ink library stamp on verso of title [Kingma & Offenberg 7; PMM 153], Hamburg, Henricus Künrath, 1670 [but Amsterdam, ?1677]; Renati Des Cartes principiorum philosophiae Pars I, & II, more geometrico demonstratae, FIRST EDITION, woodcut ornament on title, diagrams in the text, blindstamp on final leaf [Kingma & Offenberg 1; Caillet 10312], Amsterdam, Johann Riewerts, 1663, 2 works in one vol., later vellum, soiled, 4to £1,500 - 2,000 €1,700 - 2,300

Spinoza’s Tractatus theologico-politicus is a “crystal-clear exposition of the theory of natural right... [it] contains the first clear statement of the independence of each other of philosophy and religion” (PMM), ranking reason above revelation. Renati Des Cartes principiorum philosophiae was Spinoza’s first published work, and the only one to appear under his own name during his lifetime.

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86 • [STOW (JOHN)] The Summarye of the Chronicles of Englande... Newly Corrected, Abridged and Continued, unto this Present Yeare of Christ 1573, black letter, title within typographical border, small tear repaired to lower margin of 3 leaves (with minor loss of one catchword), morocco ex libris of Vernon Watney, red crushed morocco gilt, g.e. [STC 23325.6], 16mo, Thomas Marshe, [1573] £600 - 800 €700 - 930

87 • SWEET (ROBERT) The British Flower Garden; Containing Coloured Figures & Descriptions of the Most Ornamental & Curious Hardy Herbaceous Plants, vol. 1-3 (first series), 300 hand-coloured engraved plates (several folding), some light spotting and offsetting (mostly onto text), contemporary green half morocco gilt, t.e.g. [Nissen BBI 1923; Dunthorne 293; Great Flower Books, p.77], 8vo, for the Author, by W. Simpkin and R. Marshall, 1823-1829 £1,000 - 1,500 €1,200 - 1,700

88 • SWEET (ROBERT) The Florist’s Guide, and Culitvator’s Directory; Containing Coloured Figures of the Choicest Flowers, Cultivated by Florists, 2 vol., first edition, 200 hand-coloured engraved plates by J. Watts after E.D. Smith, occasional light offsetting from plate to text, contemporary green half morocco gilt, t.e.g. [Nissen BBI 1925; Great Flower Books, p.77; Pritzel 9080], 8vo, James Ridgway, 1827-1832 £3,000 - 5,000 €3,500 - 5,800

89 • [SWIFT (JONATHAN)] Travels into Several Remote Nations of the World. By Capt. Lemuel Gulliver... Second Edition [-Corrected], 2 vol., engraved portrait, 5 maps and one plate, advertisement leaf preceding title to volume 2, occasional light browning and spotting, contemporary calf gilt, spines worn, joints cracked, new endpapers [Teerink 293], 8vo, Benjamin Motte, 1727 £600 - 800 €700 - 930

The second edition of Gulliver’s Travels, Teerink’s 293, issue (2), having five verses on 24 pages following the title (as opposed to four verses on 20 pages), and with the portrait in second state (a), with vertical chain lines and the lettering around the oval frame.

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90 • TEXTORIS (GUILERMUS, de Aquisgrano) Sermo de passione Christi, sive Sermo historialis passionis dominicae, 113 leaves (of 114, lacking a1), 33 lines, Gothic letter, 5- to 8-line initials supplied in red (some with decorative penwork, one incorporating an image of a bird, one with some abrasion), rubricated in red, several early annotations in the margins (a few shaved), modern vellum [ISTC it00119000; BSB-Ink B-511; Goff T119; GW M45722], small 4to (184 x 130mm.), [Basel, Michael Wenssler], for Guillaume de Rochefort, [not after 26 September 1486] £800 - 1,000 €930 - 1,200

91 • TURRECREMATA (JOANNES DE) Summa de ecclesia contra impugnatores potestatis summi pontificis et LXXIII quaestiones super potestate et auctoritate Papali ex sententiis sancti Thomae Aquinatis, 270 leaves (including a blank), 55 lines and headline, double column, Gothic letter, printer’s device at end, old circular stamp of the Museo Cavaleri on title, minor restoration to extremities at beginning and end (affecting a few letters at end), margins of early leaves waterstained, otherwise slightly discoloured, nineteenth-century maroon half morocco [ISTC it00556000; BMC VIII 299; BSB-Ink T-572; Goff T556; GW M46324, M48279; HC 15732* (incl H 1422*); IGI 9886], small folio (278 x 205mm.), Lyon, Johannes Trechsel, 20 September 1496 £1,000 - 1,500 €1,200 - 1,700

72 | Bonhams 92

92 • VANCOUVER (GEORGE) A Voyage of Discovery to the North Pacific Ocean, and Round the World; In which the Coast of North- West America has Been Carefully Examined and Accurately Surveyed... Principally with a View to Ascertain the Existence of any Navigable Communication between the North Pacific and North Atlantic Oceans; and Performed in the Years 1790... 1794, and 1795... a New Edition, with Corrections, 6 vol., 2 large folding engraved maps (light offsetting, America with some short tears at folds, no loss), 17 folding engraved plates by Landseer, Pouncy and Fittler after W. Alexander, from sketches made “on the spot” by Sykes, Heddington and others (a few imprints cropped), advertisement leaf at end of volume 6, modern half calf preserving original boards, spines tooled in gilt and blind [Ferguson 339; Hill 1754; Sabin 98441], 8vo, John Stockdale, 1801 £1,500 - 2,000 €1,700 - 2,300

A good attractive copy of the second edition of the official account of the voyage considered “the most important ever made in the interests of geographical knowledge” (Hill). Vancouver set sail in April 1791, and the expedition took five years to accomplish. Sailing by way of Cape of Good Hope, the southwest coast of Australia, New Zealand, Tahiti and the Sandwich Islands, Vancouver reached the Pacific coast of America, and systematically explored the coastline from San Francisco to Cook’s Inlet, the Straits of Juan de Fuca and Puget Sound, discovering the Gulf of Georgia and circumnavigating what became known as Vancouver Island. The charts of the northwest coast are amongst the earliest and most accurate of the time, and he proved beyond doubt that there was no passage between the Pacific and Hudson’s Bay.

Provenance: Gerald Holgate Selous, British diplomat in Canada between 1942 and 1945, and by descent to his grandson.

Books, Maps, Manuscripts & Historical Photography | 73 93 94

95

74 | Bonhams 93 • VEGETIUS RENATUS (FLAVIUS) [Du fait de guerre et fleur de chevalerie, cuatre livres, Sexte Jules Frontin, des stratagemes...], translated by Nicole Volkr de Serouville, 121 full-page woodcut illustations, lacks title and final leaf, short tear touching 2 images, early ink annotations in English in margins of 5 pages, light pencil doodles in a few margins, nineteenth-century half calf, rebacked preserving part of original spine, small folio, [Paris, Chrestien Wechel, 1536] £600 - 800 €700 - 930

94 • VICTORIA - ROYAL HOUSEHOLD ACCOUNTS Household accounts for the royal palaces, monthly for 1897 and 1898, containing accounts for Buckingham Palace, Windsor Castle, Osborne and the Lodges, with a total of “Royal Yacht Bills”, itemising expenditure on bread, butter, milk, meat, poultry, fish, grocery, fruit, vegetables, and on wax, tallow, lamps, gas, fuel, ice, stationery, turnery, brazier, china, plate, sundries, carriage of goods and washing, with each month’s account for 1897 on the verso facing those for 1898, 24 pages, plus blank leaves, red morocco, some marking to covers, minor dust-staining, folio, 1897 and 1898 £600 - 800 €700 - 930

ROYAL HOUSEHOLD ACCOUNTS FOR QUEEN VICTORIA’S DIAMOND JUBILEE YEAR. In addition to the regular accounts from which a good deal can be deduced about the movements and make-up of royal household, additional items have been entered; for example in September 1897 there are adjoined the “King of Siam’s Bills” which amount to £2911-7s-4d (as opposed to total expenditure elsewhere of £1839-17s-9d), these of course being for the English leg of the famous European tour that King undertook that year. The December accounts for both years have accounts for Balmoral added to them. Underneath each set of accounts are totals of persons – or half-persons – accounted for, with the calculated cost per person.

95 • WATHEN (JAMES) Journal of a Voyage in 1811 and 1812, to Madras and China; Returning by the Cape of Good Hope and St. Helena; in the H.C.S. The Hope, Capt. James Pendergrass, first edition, 24 hand-coloured aquatint plates after the author, offsetting and spotting, short tear repaired to sky area of Conjevaram pagoda plate, tear to one leaf of index, ownership inscription “Rich. Barnett June 2d 1815” on title, contemporary calf gilt, rebacked preserving original spine [Abbey Travel 517; Cordier BS, 2107; Lowendahl, Supplement 1697], 4to, J. Nichols, 1814 £1,000 - 1,500 €1,200 - 1,700

96 • WORDSWORTH (WILLIAM) Poems, 2 vol., FIRST EDITION, first state with mispelling “fnuction” on p.98 of volume 2, errata in volume one, lacks half-titles, occasional light spotting, the Duke of Leeds’ copy with armorial bookplate and neat ownership inscription on titles, contemporary calf gilt, rubbed [Wise 8; Tinker 2334], 8vo, Longman, Hurst, 1807 £600 - 800 €700 - 930

First edition of one of the most celebrated collections of poems by an English author, containing most of Wordsworth’s best known verses, including “To the Butterfly”, “To the Cuckoo”, “To the Skylark”, “I Wandered Lonely as a Cloud”, “The Solitary Reaper” and “She Was a Phantom of Delight”.

Books, Maps, Manuscripts & Historical Photography | 75 97

76 | Bonhams Historical Photography

97 BEATO (FELICE) An album of architectural views in India, comprising Lucknow, Delhi, Agra and Benares, 38 albumen silver prints (most numbered in the negative as per footnote), 6 small (typically 100 x 76mm.) salted paper print portraits of unidentified male sitters, views mounted one per page (recto only), captioned in pencil on the mounts, images approximately 252 x 280mm., early maroon morocco gilt, lettered “Benares, Lucknow, Agra, Delhi” on upper cover, g.e., oblong folio, [c.1858] £25,000 - 30,000 €29,000 - 35,000

A FINE ALBUM DOCUMENTING THE AFTERMATH OF THE INDIAN MUTINY, AND IMPORTANT ARCHITECTURAL SITES IN NORTHERN INDIA.

It is thought that Beato (1832-1909), a Briton of Italian heritage, may have been commissioned by the War Office in London to document the architectural damage caused to Lucknow after the Indian Mutiny. He was in Lucknow during the March and April of 1858, just weeks after its capture by the British under the command of Sir Colin Campbell.

Comprising: ‘Sacred Temple of Benares from the River side’ (B2); ‘Buddhist Temple’, the Dhamekh Stupa, Sarnath (to the north east of Benares) (B3); ‘Sacred well, Benares’ (B6); ‘The Martinere Bra--? Sikhs - Lucknow’, with armed Sikh soliders in the foreground (L6); one of Beato’s most well known images of the aftermath of the Indian Mutiny, the Secundra Bagh ‘after the slaughter of 2000 rebels’ (as caption in the mount) by the 93rd Higlanders and 4th Punjab Regiment (L13); ‘The Motee Mahal - First attack of Sir Colin Campbell Nov. 1857’, Lucknow (L19); ‘Small mosque in Kaiserbagh’ (L24); ‘The tomb of Saadat Ali in Kaiserbagh Palace’ (L25); ‘Asfi Mosque inside the Imambara of Asaf-ud-daula, Lucknow’ (L47); ‘The Hosainabad Emambara [and] Tomb of Mohamed Ali Khan’ (L55); ‘[The] Summa Musjid Gate’ (L56); ‘The Taj from the East’ (A2); ‘Entrance view of the Taj’ (A6); ‘The Taj from the Fountains’ (A7); ‘Gateway of the Taj’ (A10); ‘The Gateway of the Taj’ (A11); ‘Delhi Gate of Agra Fort’ (A12); ‘Marble Palace in Fort Agra’ (A14); ‘Tomb of [I’timad]-ud-Doulah’ (A16); ‘Akbar’s Tomb at Secundra near Agra;’ ‘Gateway of Akbar’s Tomb, Secundra’ (A20); another view of “Tomb of [I’timad]- ud-Doulah;’ ‘Summum Bourg in the Fort Agra’ (A24); ‘Bridge of Boats over the Jumna, Taken from Lulim Ghur’ (D1); ‘Hindoo Rao’s House’ (D5); ‘Cashmere Gate’ (D22); ‘Lahore Gate of the Palace;’ ‘Jumna Musjid;’ ‘Jain Temple;’ ‘View on the Chandee Chowk’ (D40); ‘Tomb of the Emperor Hoomaoon, where Major Hodson captured the King’ (D42); ‘Old Gateway near Delhi’ (D43); ‘Kootub [Minar]’, (two sheets joined); ‘Arch in Kootub’ a portrait oriented view showing the central arch of the Quwwat-ul-Islam Mosque, south of Delhi, also known as the ‘Great Arch’ (D4?); another view, landscape oriented, of ‘Arch in Kootub;’ ‘Interior of the Hindoo Temple at Kootub’ showing the colonnade that comprises the east side of the Quwwat-ul-Islam Mosque (D50); ‘Exterior of the Hindoo Temple in Kootub,’ and ‘Tomb in Kootub’ (D56).

Books, Maps, Manuscripts & Historical Photography | 77 98

78 | Bonhams 98 • BONFILS (FELIX) Architecture antique. Égypte. Grèce. Asie Mineure. Album de photographies, first edition, letterpress title, 50 albumen prints (signed in black in the negative), each with printed caption on the mount, all loose within publisher’s cloth-backed portfolio boards, gilt lettered “Architecture Antique” on upper cover, folio (575 x 400mm.), Paris, Ducher et Cie, 1872 £15,000 - 20,000 €17,000 - 23,000

SCARCE FIRST APPEARANCE OF FELIX BONFILS’ CELEBRATED PHOTOGRAPHS IN BOOK FORM, with no copies traced at auction in the past thirty years.

This album is the earliest known published work from the Bonfils studio, the images having been taken in the late 1860s and bound in this volume in 1872. They bear the early (c.1867-early 1870s) Bonfils black signature in the negative. As Ken Jacobson explains in Obalisques & Arabesques: Orientalist Photography 1839-1925, ‘these early negative signatures, especially the black signatures, are most likely to indicate negatives taken by Félix himself’ (p.216).

‘Maison Bonfils’ was the French photographic studio established by Félix Bonfils (1831-1886) and his wife, Marie-Lydie (1837-1918), in Beirut in 1867. Bonfils’ success led him to open three sister studios in Cairo, Alexandria and France as the Middle East opened up to tourism in the late nineteenth century. From 1878, their son, Adrien (1860-1929), went on to take responsibility for the photography whilst Félix and Marie-Lydie ran their photographic empire.

Images comprise:

EGYPT: Karnak (Thebes): Intérior de la 1.re cour du Temple de Ramessès III; Vue générale du Temple de Ramessés III; Colonne dans la 2e. cour du Temple de Ramessés III; Colonne inclinée, intérieur de la salle hypostyle; Temple de Louksor, Vue générale des colonnades du milieu; Propylône ptoléméen et porte d’entrée au petit Temple; Détails de la Porte du Temple de Médinet-Abou; Colonnes de la salle hypostyle, vue du nord; Sphinx et Pyramides; Temple de Louksor, Obelisque et pylône; Avenue des Sphynx et propylône ptoléméen; Ruines de 3eme. pylône du Temple (sud-est) partie gauche; 3e. Cour du Grand Temple de Médinet-Abou, ou des colonnes; Temple de Louksor, entrée triomphale; Sculptures dans le Temple de Ramessès III, au fond de la 2e. cour, à droite; Sculptures à l’extrémité du Temple de Tentyris, à Denderah (Haute-Egypte); 2e. Porte du Grand Temple de Médinet-Abou; Avenue centrale de la salle hypostyle, prise de l’est (18).

SYRIA: Damascus: Coupole octogone dans la cour de la Grande Mosquée; Groupes de Tombeaux; Petite coupole de la G.de. Mosquée (livre sacré); Dervicherie; Mosquée Es-Saghir, au faubourg de Meydan; Enfilade de la Grande Mosquôe, côté sud, dans la cour; Tombeau avec grille en fer; Minaret de la Fiancée; Fontaine à l’intérieur de la Grande Mosquée, and Intérieur de Maison. (10) Balbek: Coupole de Douris, dans la plainede la Bekàa; Détails des chapiteaux des colonnes du Temple de Jupiter; Porte du Temple de Jupiter (Pierre qui tombe); Temple de Jupiter; Chambres carrées, à driote, dans la cour rectangulaire; Grandes colonnes du Temple du Soleil; Intérieur de Temple du Jupiter (7).

PALESTINE: Jérusalem: Mosquée d’Omar et Tribunal de David; Saint Sépulchre; Tombeau d’Absalon; Coupoles sur la plate-forme du Temple; Porte de Damas; Member sur la plate-forme du Temple; Tombeau de Zacharie et de St. Jacques (7).

GREECE: Athens: Temple de Thésée; Parthénon. pris des propylées; Cariatides du Temple de l’Erechteion; Cariatides du Temple de l’Erechteion; Tours des Ventes; Lanternede Diogène. Monument chorégique de Lysicrate; Intérieur du Théâtre de Bacchus; Portique d’Adrien (8).

See illustrations opposite and overleaf.

Books, Maps, Manuscripts & Historical Photography | 79 98

98

80 | Bonhams 99 100

99 CAMERON (JULIA MARGARET) “Déjatch Alámayou & Báshá Félika | King Theodore’s Son & Captn Speedy”, albumen print, signed, inscribed “From life” in ink with printed titled in English and Amharic on full mount, Colnaghi blindstamp [Cox & Ford, cat. no. 1117], 270 x 240mm., [July] 1868 £5,000 - 7,000 €5,800 - 8,100

Provenance: Julia Margaret Cameron, and by descent to the present owners.

100 CAMERON (JULIA MARGARET) “Déjatch Álámáyou, King Theodore’s son”, albumen print, mounted on card, signed, titled, annotated ‘From life Registered Photograph’, printed with Amharic on the mount, Colnaghi blindstamp, gilt border surrounding the image [Cox & Ford, cat. no. 1121], 309 x 275mm., [July] 1868 £5,000 - 7,000 €5,800 - 8,100

This print was catalouged by Cox & Ford as “present whereabouts unknown”, and is possibly unuqie.

After his father committed suicide during the British Abyssinian Expedition of 1867-68, the widowed Empress Tiuwork and the young heir of Tewodros, Déjatch Álámáyou, were to be taken to England. However, the Empress never made the journey out of present day Ethiopia and was buried in Tigrai in the north of the country. Álámáyou made the journey to England alone and, whilst Queen Victoria subsidised his education at Rugby School, Captain Tristram Speedy, the Victorian explorer and adventurer, became his legal guardian. However, plagued by health problems, Álámáyou died of pleurisy aged 19. As Cameron’s portrait exemplifies, Álámáyou was cast as a romantic and melancholy figure in Victorian popular culture.

Provenance: Julia Margaret Cameron, and by descent to the present owners.

Books, Maps, Manuscripts & Historical Photography | 81 101

102 82 | Bonhams 103

101 • COBURN (ALVIN LANGDON) London... with an Introduction by Hilaire Belloc, 20 mounted photogravures, slight spotting to title and other leaves of text, publisher’s quarter calf, backstrip defective, folio, Duckworth & Co., New York, Brentano’s, [1909] £1,500 - 2,000 €1,700 - 2,300

102 CURTIS (EDWARD SHERIFF) ‘Chaíwa-Tewa.’ A portrait of a young, female Hopi Indian, photogravure, numbered 414 in the margin, image to view 401 x 301mm., framed and glazed, Suffolk Engraving Company, 1921 £600 - 800 €700 - 930

From The North American Indian, Vol. XII, 1922.

103 • DAMMANN (CARL and FREDERICK W.) Ethnological Photographic Gallery of the Various Races of Mankind, 167 albumen prints mounted on 24 pages, mounts with printed captions describing each race of peoples, several mounts spotted, not affecting images, publisher’s cloth, oblong folio, Huddersfield, Trübner, [c.1875] £2,000 - 4,000 €2,300 - 4,600

A PIONEERING ETHNOGRAPHIC STUDY. The works details, in 167 photographs, twenty-four peoples including: Indians, Filipinos, Chinese, Japanese, North Asians, Nigerians, Congolese, North Americans, South Americans, Amazonians, Aborigines, Polynesians, Germans, Slavonians, and Finns.

Books, Maps, Manuscripts & Historical Photography | 83 104

104 DE LA GRANGE (ALEXIS) An album of 49 architectural views of major sites in India, most of which are mughal, albumen prints from paper negatives, mounted one per page on recto only, captioned in a contemporary French hand on the mounts, presumably that of the photographer, images typically 180 x 218mm. or slightly smaller, bookplate of Le Mis. De Champagné-Giffart, red morocco, “Photographies de l’inde Anglaise” in gilt on upper cover, rubbed, oblong folio (315 x 355mm.), [c.1849-1850] £40,000 - 60,000 €46,000 - 70,000

84 | Bonhams 104

A VERY FINE RECENTLY DISCOVERED ALBUM OF SOME OF THE EARLIEST KNOWN PHOTOGRAPHS OF INDIA.

Born to an aristocratic French family in 1825 (the son of an army colonel, Baron Prosper Amauri Louis, who was an officer of the Ordre national de la Légion d’honneur), de la Grange studied in Paris before serving in the naval artillery from 1844 to 1847. In 1849, and following military service, he embarked upon a two year trip to India, Ceylon, Java, Malaysia and Singapore. He travelled with his statesman cousin, Felix Lambrecht, who detailed the trip in his book Souvenirs (1873).

De la Grange’s superb images predate those taken during the British government’s photographic surveys, and those by the acknowledged early masters of travel photography, such as Tripe, Biggs, Pigou and Neill. De la Grange apparently took his photographs, less than 70 of which are known to have survived, for his own pleasure rather than a specific commission, but he was seemingly connected with some of the pioneers in the medium, having taught Maxine du Camp his techniques.

In 1851 de la Grange returned to France where he is known to have assembled two albums, both entitled “Photographies de l’inde Anglaise”. One, containing 61 images and manuscript notes by the photographer, was dedicated to the politician and historian Adolphe Thiers, a friend of Felix Lambrecht. The second album, now at Canadian Centre for Architecture, contains 48 images. The present previously unrecorded album, presumably given to the Marquis Champagné-Giffart, is therefore a significant addition. Five of de la Grange’s photographs were included in Blanquart-Evrard’s first published collection of photographs, L’Album photographique de l’artiste et de l’amateur in 1851, but no further photographs can be attributed to him after this date.

After his return to Europe he entered politics, before retiring to his chateau in Seborg. He died in February 1917.

Images include: Benares: an English hotel bungalow, captioned ‘specimen du habitation anglaise au Bengale’ in the neo-classical style (4); Mirzapur: a temple (1); ‘Palais de Dig’ (1); Fatehpur Sikri: the Grand Mosque and tombs (3); Agra: the marble pavilion of Shah Jehan, the entry gate to the Taj, a general view of the Taj, a detail of the Taj, the Taj mosque and three views of Emperor Akbar’s tomb (8); Sikandra: a view of the gate to the garden of Akbar’s tomb, another view of the entrance to the garden, two general views of the tomb, and the entrance to the tomb itself (5); Delhi: the Grand Mosque, two views of a tomb, a view of the Tomb of Humayun, Qutb Minar, and a view of the ruins of Quwwat-ul-Islam (Qutb Mosque) (7); Lucknow: two general views, and a view of the Grand Mosque (3); Ajmer: the entrance to the Fort, and detail views of two houses (3): ?Oudjin: the pavillion of a palace, presumed to be the Red Palace at Jaipur, a detail of this palace, a house, and a view of a Muslim cemetery (4); Udaipur: the palace, and three views of a Hindu temple (4); Chittor: three view of a Hindu temple (3); Mundleysir: a Hindu temple (1); Adjunta: a view of the exterior of the Chaitya Cave (1); Ellora: two views of the caves (2).

Provenance: Champagné-Giffart (bookplate); Henri Pierre Briere (1897-1990), and thence by descent to the current owner. Books, Maps, Manuscripts & Historical Photography | 85 105 106

105 DUFF (ALEXANDER) Portrait of Dr. Duff, seated and comtemplating a large volume lettered “Indian Missions” on upper cover, salt print, mounted on a blue album leaf, slight creasing at head and foot, and signed “Dr. Duff” in a contemporary hand at foot of image, 180 x 138mm., [1849?] £400 - 500 €460 - 580

An unattributed portrait of the celebrated Scottish missionary, in the style associated with Hill and Adamson.

Alexander Duff (1806-1878), was sent out to Calcutta by the Church of Scotland, arriving in 1830. Over the next four years with the help of Raja Rammohan Roy, the Bengali intellectual, he established a school that grew into the General Assembly Institution. Returning to Scotland in 1834 for health reasons, Duff agitated for more support to Indian missions, and advocated education for women, culminating in India and Indian Missions published in 1840 (the full title of the volume in the image). Duff returned to India once more in 1840. When the Disruption of the Church of Scotland occurred in 1843, Duff and all the other Church of Scotland missionaries in India joined the Free Church, forfeiting all that had been established, to start again. He returned to Scotland in 1849, where his reputation was such that in 1851 he was elected Moderator of the Free Church. Hill and Adamson did not commmence their work until 1843, and this stopped with the death of Adamson in 1848. Unless Hill, against all the evidence, took this portrait after the death of Adamson, the photographer remains unknown, although a not dissimilar image in the National Gallery of Scotland is attributed to the Edinburgh photographer James Good Tunny.

106 EROTICA An album, containing approximately 300 photographic images (various processes including albumens and gelatin silver), and approximately 70 postcards (17 photographic), images 152 x 110mm. or smaller, mounted up to 8 per page (9 oxidised), half morocco album, with lock (broken), oblong folio, [early twentieth century] £2,000 - 4,000 €2,300 - 4,600

Images include semi-clad figures in the guise of priests, soldiers, clowns, “exotics”, cross-dressers, and approximately 20 contact sheets, several captioned: “Entre Elles”, “Coin d’Afrique”, “Flagellation”. Most of these “tableaux vivant” include between 2 and three participants.

Viewing of this item will be by appointment only.

86 | Bonhams 107

Books, Maps, Manuscripts & Historical Photography | 87 107 HAWARDEN (CLEMENTINA MAUDE, Viscountess) An archive comprising 37 albumen prints by Lady Hawarden, a pair of pencil sketches of Clementina Hawarden and her husband, and 15 associated albumen prints (several possibly by Lady Hawarden) [c.1857-1864] £100,000 - 150,000 €120,000 - 170,000

AN EXCEPTIONAL ARCHIVE OF IMAGES, MANY PREVIOUSLY UNRECORDED, BY ONE OF THE MOST INFLUENTIAL AND ILLUSIVE PIONEERS OF FINE ART PHOTOGRAPHY. Clementina Hawarden is often spoken of in the same breath as Julia Margaret Cameron, but unlike the latter, Clementina Hawarden’s photographs have rarely come onto the market. The majority of the images in this archive are not represented in the Victoria & Albert Museum’s collection.

Clementina Elphinstone Fleeming was born in Dunbartonshire in 1822, the third of five children of a British father, Admiral Charles Elphinstone Fleeming (1774-1840), and a Spanish mother, Catalina Paulina Alessandro (1800-1880). In 1845 she married Cornwallis Maude, an Officer in the Life Guards. When Maude’s father, Viscount Hawarden, died in 1856, his title, and considerable wealth, passed to Cornwallis.

The surviving photographs suggest that Clementina, now Lady Hawarden, began to take photographs on the Hawarden’s Irish estate at Dundrum, Co. Tipperary, from late 1857. Many of these were taken with a stereoscopic camera, and the present archive contains several Dundrum photographs which form one half of a stereoscopic image.

In 1859 the family also acquired a new London home at 5 Princes Gardens (much of the square survives as built, but No. 5 has gone). From 1862 onwards, Lady Hawarden turned the entire first floor of the property into her photographic studio. Here she kept some of the props which came to be synonymous with her work: gossamer curtains, a freestanding mirror, a small chest of drawers and the iconic ‘empire star’ wallpaper, as seen in several of these photographs. The superior aspect of the studio no doubt encouraged Lady Hawarden’s sophisticated, subtle and pioneering use of natural light.

It was also in this studio that Lady Hawarden began to concentrate on photographing her eldest daughters, Isabella Grace, Clementina, and Florence Elizabeth, whom she would often dress up in costume tableaux. The girls were frequently shot - often in romantic and sensual poses - in pairs, or, if alone, in front of a mirror or with their back to the camera. Hawarden’s photographic exploration of identity, otherness, the doppelgänger and female sexuality, as expressed in the vast majority of these photographs, was incredibly progressive in comparison with her contemporaries, most notably Julia Margaret Cameron. As Graham Ovenden comments in Clementina Lady Hawarden (1974), she “struck out into areas and depicted moods unknown to the art photographers of her age. Her vision of languidly tranquil ladies carefully dressed and posed in a symbolist light is at opposite poles from Mrs Cameron’s images... her work... constitutes a unique document within nineteenth-century photography”.

She exhibited, and won silver medals, in the 1863 and 1864 exhibitions of the Photographic Society, and was admired by both Oscar Rejlander and Lewis Carroll, who purchased from her five images which went into the Gernsheim Collection and are now in Texas. In 1865 Lady Hawarden died, and although her loss was regretted in the photographic journals, her work was soon forgotten.

In 1939 her granddaughter presented the V&A with 779 photographs, most of which had been roughly torn from their original albums with significant losses to corners. Proper examination and appreciation of this gift was delayed by World War Two, and it was not until the 1980s that Mark Haworth-Booth offered Virginia Dodier the opportunity to make a detailed appraisal and catalogue of the V&A holdings. These holdings constitute almost the entire body of Hawarden’s surviving work, apart from the five images now in Texas, and small groups or single images at Bradford, the Musée d’Orsay and the Getty. The appearance of the present collection is totally unexpected, and represents a remarkable opportunity to acquire a series of images (most of which appear not to be duplicated elsewhere) by a photographer whose work is otherwise unobtainable.

Like those in the V&A, most of the present images have been removed from an album, but, remarkably, with very little loss: only one image is missing a corner, making this collection all the more exceptional. Some smaller images are arranged on album leaves that are still intact (the images measuring 322 x 235mm). As distinct from the V&A’s holdings, it is presumed that these images are from an album which belonged to one of the sitters or their siblings. The most significant group in the present collection measure approximately 198 x 144mm. and mostly depict one figure in the first floor front room at 5 Princes Gardens. Curiously there are no images of this size in the V&A collection, but the presence of close variant images in a smaller format suggests that Lady Hawarden was using two cameras in the same session. The V&A collection has a variant pose of image number 5 (below), but in the smaller format [PH.457:564-1968].

Provenance: purchased by the present owner in the early 1970s, almost certainly at the sale of the contents of Saltmarshe Hall in East Yorkshire.

88 | Bonhams 107

Books, Maps, Manuscripts & Historical Photography | 89 The portrait images are ordered here by size. Most have “Lady Hawarden” inscribed in pencil on the verso, often with a number. The identity of the sitter or sitters is also noted. Numbers 1-34 relate to the lives of the Hawardens at their London house, 5 Princes Gate. Numbers 35-39 relate to Dundrum and Co. Tipperary.

1. Isabella Grace Maude, seated with her sister Elphinstone Agnes (born 1857 and known as “Eppie” (or “Eppy”) standing beside her, to the left an French-style side-table with a basket of ribbons or dried flowers, laid on leaf now trimmed to image size with the lower margin extended to retain an identifying caption in ink, the number ‘13’ on verso [c.1864] 222 x 204mm.

2. Clementina Maude wearing a full dark skirt (seemingly lengthened by the addition of a wide strip to the original hem, with the plumed tricorn hat, seated at a gothic-style desk on which rests a fan, a cushion and other small objects, the sitter identified in pencil on verso of image with the number ‘9’ [ c.1862] 188 x 144mm.

3. Florence Maude wearing the full dark skirt described above, seated (right-profile) at the gothic-style desk on which are arranged the objects also described above, laid on leaf now trimmed to image size, the sitter identified in pencil on the verso with number ‘4’ [c.1862] 198 x 144mm.

4. Isabella Grace Maude, standing with a besom in front of a looking glass with the gothic-style desk tucked behind, laid on leaf now trimmed to image size with the lower margin extended to retain an identifying caption in ink, the sitter also identified on the verso with number ‘11’ [c.1862] 198 x 145mm.

5. Isabella Grace Maude, an alternative pose to that above [cf. V&A PH.457:564-1968 for a smaller format variant], the gothic-style desk no longer visible, the sitter identified in pencil on the verso of image with number ‘10’ [c.1862] 198 x 144mm.

6. Clementina Maude, wearing the full dark skirt and a paisley shawl, facing away from the camera as if examining one of the draws in the cabinet resting on the mantelpiece, laid on leaf now trimmed to image size, photograph of a nineteenth-century Italian painting pasted on verso, the sitter identified in pencil on the verso with number ‘8’ [c.1862] 197 x 144mm.

7. Isabella Grace Maude, wearing a bonnet and shawl with black lace standing next to the fireplace with the edge of the looking glass just visible, laid on leaf now trimmed to image size, the sitter identified in pencil on the verso with number ‘7’ [c.1862] 192 x 143mm.

8. Cornwallis Maude, Viscount Hawarden, standing by the fireplace and holding a camera, and with a print of a portrait of the anatomist William Hunter on an easel to left, a portion of the original mounting leaf at foot of image remaining with Lord Hawarden named in ink, also named as the sitter in pencil on the verso with number ‘1’, [c.1862] 152 x 147mm.

9. Clementina Maude wearing of-the-shoulder gown, seated (left-profile) and reading a book, the sitter identified in pencil on the verso, lower left corner trimmed away [c.1862] 174 x 150mm.

10. Isabella Grace Maude standing by a window, wearing a black lace shawl over a white (or light) dress, mounting leaf trimmed to image, the sitter identified on the verso with number ‘14’, [c.1862] 114 x 96mm.

11. Isabella Grace Maude facing away from the camera as to go through an open door, clutching a shawl and wearing a hat, her silhouette shadow on the wall, mounting leaf trimmed to image, the sitter identified on the verso with number ‘17’, [c.1862] 112 x 90mm.

12. Florence and Clementina Maude seated together in the corner of a room with a large drape behind, mounting leaf with the sitters identified in ink below the image, [c.1862] 98 x 80mm.

13. Isabella Grace Maude on the balcony, wearing a white dress with dark bodice and sash, a headdress with flowers, and appearing to be holding a manuscript in her left hand [see also V&A PH.457:405-1968], mounting leaf trimmed to image, inscribed on the verso with number ‘18’, [c.1862] 110 x 85mm.

90 | Bonhams 107

Books, Maps, Manuscripts & Historical Photography | 91 107

92 | Bonhams 14. Clementina Maude, kneeling in a dark dress in front of a window, and with her arm resting on the gothic- style desk, mounting leaf trimmed to image, the sitter identified on the verso with number ‘15’, [c.1862] 114 x 96mm.

15. Two girls, Elphinstone Agnes ‘Eppy’ sitting and facing the camera, the other with her back to the camera, on the balcony, just outside the window, mounting leaf trimmed to image, inscribed on the verso with number ‘22’ , [c.1862] 101 x 76mm.

16. Florence Maude, kneeling and looking out of a window with one hand up to the pane, the balustrade visible, a chair to the right of the casement, mounting leaf trimmed to image, inscribed on the verso with caption ‘Sun worshipper’, [c.1862] 93 x 79mm.

17. One of the daughters on the balcony, clutching a skipping rope in her left hand and looking onto the adjoining balcony, mounting leaf trimmed to image, inscribed on the verso with number ‘9’, [c.1862] 96 x 76mm.

18. Two near-identical sisters standing in the corner of the balcony, with matching bonnets, mounting leaf trimmed to image, inscribed on the verso with number ‘21’, [c.1862] 98 x 78mm.

19. Admiral James E. Katon (stepfather), standing with his hand resting on the gothic-style desk, laid on leaf now trimmed to image size with the lower margin extended to retain an identifying caption in ink, the sitter also identified on the verso with number ‘30’ [c. 1862] 57 x 90mm.

20. Mrs. Katon (Lady Hawarden’s mother), seated at the gothic-style desk in which stands the same small vase of flowers also visible in her husband’s portrait, mounting leaf trimmed to image, inscribed on the verso with number ‘29’, [c.1862] 88 x 58mm.

21. Cornwallis Maude, Viscount Hawarden, standing with his left hand holding the back of a chair and right hand in his trouser pocket, the gothic-style desk on the left hand side, mounting leaf trimmed to image, the sitter identified in pencil on the verso with number ‘7’ [c.1862] 87 x 57mm.

22. Portrait of a small terrier seated on a chair on the balcony [cf. V&A PH.457: 367-1968], mounting leaf trimmed to image, the sitter identified in pencil on the verso with number ‘29’, [c.1862] 89 x 57mm.

23. Small head and shoulders portrait of ‘Eppy’ Maude, wearing a dark dress with a short white collar, mounted on an album leaf with other oval portraits and numbered ‘32’ in pencil [c.1862] 25 x 18mm.

24. Small head and shoulders portrait of ‘Eppy’ Maude, wearing a dark dress with a short white collar, mounted on an album leaf with other oval portraits and numbered ‘34’ in pencil [c.1862] 26 x 20mm.

25. Small head and shoulders portrait of Isabella Grace Maude, wearing a bonnet that appears to be decorated with multiple small flowers (as in the very famous image of Clementina and her on the balcony), mounted on an album leaf with other oval portraits and numbered ‘33’ in pencil [c.1862] 26 x 19mm.

26. Small head and shoulders portrait of the Hawarden’s son Cornwallis Maude (left-profile), mounted on an album leaf with other oval portraits and numbered ‘36’, the mount annotated in pencil “Killed Majuba Hill 1881”, [c.1862] 26 x 19mm.

27. Small head and shoulders portrait, probably of Clementina Maude (left-profile), and wearing the tricorn hat with plume, mounted on an album leaf with other oval portraits and numbered ‘37’, [c.1862] 26 x 18mm.

28. A close-up portrait of Isabella Grace and Clementina, mounted on an album leaf with other oval portraits and numbered ‘35’, [c.1862] 72 x 60mm

29. Small head and shoulders portrait of Eppy Maude (right-profile), looking unco-operative and wearing a hat with an ostentatious plume, mounted on a fragment of an album leaf, the sitter identified in ink, and again in pencil on the verso with number ‘31’, [c.1862] 33 x 26mm.

Books, Maps, Manuscripts & Historical Photography | 93 30. Oval portrait of Henry Brougham Loch, later Ist Baron Loch (cousin), seated (left-profile), mounted on an album leaf with other portraits and numbered ‘38’, image of Irish Abbey on verso, [c.1862] 53 x 40mm.

31. Oval portrait of Isabella Grace Maude, seated holding a book and apparently asleep [cf. V&A. PH.457:268- 1968], mounted on an album leaf with other portraits and numbered ‘39’, image of Irish Abbey on verso, [c.1862] 54 x 42mm.

32. Oval portrait of Isabella Grace Maude, standing and facing the camera with hat and dark cape, mounted on an album leaf with other portraits and numbered ‘41’, image of Irish Abbey on verso, [c.1862] 53 x 41mm.

33. Oval portrait of two of the girls (one older), mounted on an album leaf with other portraits and numbered ‘40’, image of Irish Abbey on verso, [c.1862] 53 x 41mm.

34. One of the older girls standing under a tree on a lawn, most probably in Princes Gate gardens, mounting leaf trimmed to image, inscribed on the verso with number ‘23’, [c.1862] 105 x 80mm.

35. Lord Hawarden standing in doorway with walking stick and and springer spaniel begging, Togge House, Dundrum, Co. Tipperary [cf.V&A PH.457:299-1968 ], mounted on an album leaf with other portraits and numbered ‘40’, image of Irish Abbey on verso, [c.1858- 1861] 117 x 88mm.

36. The Maude girls on a path with an ivy-clad dead tree to right, overlooking the Dundrum limestone quarry [cf. V&A], mounting leaf trimmed to image, inscribed on the verso with number ‘25’, [c.1860] 123 x 99mm.

37. View of the ivy-clad tree with a winch (laden with heavy stones) in the foreground, on a path overlooking the Dundrum limestone quarry, mounting leaf trimmed to image, inscribed on the verso with number ‘25’, [c.1860] 116 x 94mm.

38. A group of fifteen estate workers, each holding an axe or other implement connected with forestry, standing in front of felled wood, [c.1860] 220 x 272mm.

39. View of the ruins of an abbey (thought to be Hore Abbey, Co. Tipperary), laid on album leaf with ascription to Lady Hawarden in pencil on the mount, portraits on verso, [c.1860] 211 x 280mm.

40. A bronze of a young girl in a studio with, what appears to be, a stop watch, mounting leaf trimmed to image, inscribed on the verso with number ‘16’, [c.1860] 140 x 97mm.

41. Photograph of a Durer’s celebrated print “Ritter, Tod und Teufel”, ascribed to Lady Hawarden on the mount, pencil portraits on verso, [n.d.] 243 x 186mm.

42. A group of seven images depicting statuary at an exhibition, arranged on one album leaf, with dubious ascription to Lady Hawarden added in pencil [n.d.] each approximately 70 x 75mm.

43. View of a house behind a low hedge, in the foreground a seated man with a child standing behind, mounted on the verso of the foregoing leaf and ascribed in pencil to Lady Hawarden, [n.d.] 75 x 70mm

44. A head and shoulders portrait of a smiling child in a hat, on a carte-de-visite mount of Dr. Wallich, Trevor House, 2 Warwick Gardens, on verso ascribed to Lady Hawarden and with a tentative identification of the sitter as ‘Eppy’ 93 x 57mm

45. A cut-out head and shoulders portrait of a man in a chequered suit with bow tie, identified on the mount as Lord Hawarden and ascribed to Lady Hawarden 53 x 50mm.

46. Lady Hawarden, portrait (left-profile), standing and looking up, with plaited hair, the sitter identified in pencil on the verso [c.1863] 90 x 58mm.

47. A pair of heads in pencil, identified on the mount (in differing hands) as Clementina Maude (ie. Lady Hawarden) and Viscount Hawarden, on one leaf each approximately 130 x 160mm.

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Books, Maps, Manuscripts & Historical Photography | 95 108

108 • LUYNES (HONORE T.P. JOSEPH D’ALBERT, Duc de) Voyage d’exploration la Mer Morte a Petra, et sur la rive gauche du Jourdain, 4 vol. including atlas, first edition, half-titles, 78 photographic plates (64 photogravures after Louis Vignes, “sur Acier par Ch. Nègre”, and 14 photolithographs after Vignes and Sauvaire by Eugene Ciceri), 10 lithographed plates of geological subjects, 11 maps, plans and diagrams (some printed in colours, others engraved, several double-page), numerous illustrations in the text, occasional light browning to text, uncut in publisher’s blue printed wrappers, plates loose as issued in publisher’s cloth-backed boards, folio, Paris, Arthus Bertrand, [1874] £12,000 - 15,000 €14,000 - 17,000

In 1864 Honoré Théodore Paul Joseph d’Albert, duc de Luynes (1802-1867), noted archaeologist, numismatist and photography enthusiast, sponsored an important expedition to Lebanon, Palestine, and Syria, the results of which were published in this posthumously published work. The majority of the fine illustrations are photogravures by Charles Nègre after photographs taken by Louis Vignes (1831-1896), a marine officer who accompanied the expedition and provided the section of text “De Petra a Palmyre”.

The followng year the duc de Luynes had instigated a competition for photomechanical processes. Whilst Nègre did not win the top prize, the duc was impressed enough to engage him to work on Voyage d’exploration (see Ken Jacobson, Odalisques & Arabesques: Orientalist Photography 1839-1925, 2007, p.258).

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109 • MACAULAY (COLMAN, of the Bengal Civil Service) [Confidential]. Report of a Mission to Sikkim and the Tibetan Frontier with a Memorandum on Our Relations with Tibet, FIRST EDITION, AUTHOR’S PRESENTATION COPY, inscribed in pencil on flyleaf “J.D. Hooker from the author, June 1885””, 22 albumen prints, tissue guards, folding map (clean marginal tear without loss), publisher’s terracotta cloth gilt, t.e.g., rebacked in skilfully matched calf, 4to, Calcutta, Bengal Secretariat Press, 1885 £3,000 - 5,000 €3,500 - 5,800

A SCARCE AND ATTRACTIVE ASSOCIATION COPY, gifted by the author to the botanist Joseph Dalton Hooker (1817-1911), who had travelled to Sikkim in 1848, a journey that resulted in his Rhododendrons of the Sikkim- Himalaya, 1849–51.

Books, Maps, Manuscripts & Historical Photography | 97 110

110 • MENZIES (WILLIAM) The History of Windsor Great Park and Windsor Forest, first edition, 20 mounted albumen prints by James Sinclair, Earl of Caithness and Mr. Bembridge, 2 double-page maps at end, half-title and frontispiece loose, some light spotting and foxing to mounts, gutta percha perished, contemporary half morocco [Gernsheim 226], large folio, rubbed, Longman, Green, 1864 £2,000 - 4,000 €2,300 - 4,600

111 RAILWAY - GREAT CENTRAL An album of photographs depicting the construction of the Extension to the Manchester, Sheffield, and Lincolnshire Railway (“Great Central Railway”), together with images of the engine stock, 64 albumen and gelatin silver prints, of which 40 mounted one per leaf (recto only, images 290 x 370mm., or slightly smaller), others 2 per page, one loose, a few other related ephemeral items and later non-related cuttings (mostly crudely removed) in some margins, on blank versos etc., late nineteenth-century red half morocco, g.e., folio (455 x 380mm.), [1890s] £3,000 - 4,000 €3,500 - 4,600

An important contemporary photographic record of the construction of the Great Central Railway Extension in the 1890s, including striking images of the work in process by: Henri L. Morel, of Nottingham (20, depicting the construction of the Extension, all with printed captions on the mount, 2 with some surface loss, dated May-December 1895); J. Mudd & Son, of Manchester (6, 2 depicting the construction, 4 of houses alongside, one with railway in foreground, all with photographer’s stamp on the mounts, one dated in pencil “Sept. 1894”); Frost, of Loughborough (3, of the Extension, including the Swithland viaduct, all with printed captions on the mount); A.W. Cox (3, of the Extension, including the bridge and viaduct near Whetstone). There are 14 images of the engine stock, including 6 fine “portraits” by J. Mudd & Son, and several of the engines in steam on the track.

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112

Books, Maps, Manuscripts & Historical Photography | 99 113

112 ROYAL ENGINEERS A group of 14 views of the Royal Engineers, presumably at Chatham training ground, albumen prints, most tipped onto 8 album leaves, captioned in manuscript on the mounts, two per page on recto only, typically 195 x 260mm., [c.1860] (8) £600 - 800 €700 - 930

Images include: two photographs showing Sappers weaving gabions (wicker cylinders which were filled with earth and used as fortifications); a group portrait featuring Field Marshal Colin Campbell, 1st Baron Clyde with three other men identified as Colonel Harness and General Eyre; two views of Engineers seemingly practising the moving of a canon over a temporary bridge; a group portrait of eleven Non Commissioned Officers from 23rd Company; two views of temporary wood and rope spar bridges; a view of men aboard a diving raft made of wooden barrels (one of which is dated 1856) and a diver in his diving suit, featuring the pump and pipe to supply him with air; a portrait of Sergeant Major Jones, Royal Engineers; a portrait of Sergeant William James Lendrim wearing the Victoria Cross awarded to him in the Crimea in 1855 following several acts of gallantry in the trenches around Sebastopol (his medal is displayed at the Royal Engineers Musuem, Chatham); a view of H.M.S. Wellesley moored, it is presumed, at Chatham (Wellesley was a harbour flag ship and receiving ship at Chatham from 1854 before being renamed Cornwall in 1868), and a view of Rochester Castle.

113 STEREOSCOPIC TREASURY A Swan’s patent Clairvoyant stereoscope in a fitted mahogany presentation box with lock, “The Stereoscopic Treasury” label affixed to the lid, containing 65 stereoviews, predominantly albumen prints, patented by Henry Swan, 20 November 1858 (No. 2644) £600 - 800 €700 - 930

The stereoviews include: “The Great Eastern in the Stereoscope” by The London Stereoscopic Company showing a standing figure, presumed to be I.K. Brunel, in the foreground; The facade of the British Museum by Francis Bedford; The Roman Court, Crystal Palace; a number of British and continental topographical views, and various scenes of rural British life.

See illustration on preceding page.

100 | Bonhams Artists’ Letters & Drawings

114 ART – CORRESPONDENCE OF MARTIN HARDIE Collection of autograph and typed letters to the art historian, museum administrator, etcher and watercolourist Martin Hardie, nearly all dating from the Second World War, comprising letters by fellow artists, collectors and connoisseurs, including Stanley Anderson (fine series: “I am so happy that you have realised what I make such efforts to avoid: sootiness and slurring; what I aim at attaining: design that ‘carries’, yet intensifying the mood and a just balance of detailed expression that shall not weaken but add to the authenticity to the subject”), Geoffrey Grigson (series, largely on Palmer: “I still believe that there’s still a biggish coal mine of fact to be discovered which will wonderfully illuminate our knowledge of the minds & practice and achievement of English artists; and I wish something could be done to salve every scrap of document & letter”), Robert Sargent Austin (fine series: “I am supposed to be doing some drawings for the Air Ministry, & go down to Surrey each day early & return late at night: but as my station is a fighting one, all Hurricanes & Spitfires, it is difficult to catch the people who are out all the time now the war has started”), Edwin Lutyens (series), William Russell Flint (series), Ruthven Todd (“...my vast and gradually advancing catalogue of all Blake’s drawings and paintings (including even the most trivial pencil sketch) is at your service...”), Arthur Friedensen (group), James Guthrie, James Laver, Owen Morshead (on the Royal Collection), A.J. Munnings, Pauk Oppé, A.E. Popham, Albert Rutherston and Will Rothenstein, Michael Sadleir, Frank Short (collection, including Short’s appraisal of Hardie), Raphael Tuck & Sons Ltd (sequence charting Hardie’s doomed struggle to break into the Christmas card market: “a rabbit at the foot of the trees, would add a useful point of interest to the picture”), Carl Winter (series: “Exhibition Rd facade is in a dreadful mess from a bomb in the road – no windows, roofs, doors etc...”), John Austen, Gerald Ackerman, Roland Alston of the Watts Gallery (fine group, discussing the condition of the pictures, Hardie’s election as Trustee, etc), Leonard Duke (series: “I am re-cataloguing my collection of junk on the loose-leaf principle”), Campbell Dodgson, Alfred Hugh Fisher (describing the bombing of his flat), C.E. Collins Baker (group, written when at the Huntington, soliciting Hardie’s help: “For some time we have been wondering whether we could not make a start in getting a few fine English watercolours”), James Cowie (borrowing some Palmers), Randal Davies, Tancred Borenius (three, on the Cotman number of the Burlington’s), Frank Brangwyn (“I have given up working for money. All the work I do is for charity”), Adrian Bury (group, as editor of the OWCS annual), Kenneth Clarke (about his contributions to the Record Britain Scheme), D.S. MacColl, James McBey (who painted and etched Hardie’s portrait), and others, in 7 files, c.1940-1946 £2,000 - 4,000 €2,300 - 4,600

A FINE RECORD OF THE MUSEUM SCENE AND STATE OF THE PICTORIAL ARTS IN WARTIME BRITAIN. Martin Hardie (1875-1952) had spent almost all his professional life working at the Victoria & Albert Museum, firstly in the Library and then, after service in the Great War, as Keeper of the combined Departments of Painting, Engraving, Illustration and Design: ‘by the time he retired, in 1935, the museum’s collections of prints and drawings were among the finest in the world. Hardie was particularly conscious of his responsibility towards contemporary artists, an obligation fostered by the museum’s creative relationship with the Royal College of Art’ (Simon Fenwick, ODNB). In his spare time he studied etching under Frank Short (for whose letters, see above) and was also an accomplished watercolourist. In this context his friend Stanley Andersen paid him the tribute: “I am sure it is only the man who can practise the job of art who is in a position to really appreciate the deeper significance of the how as well as the what of expression” (see Andersen’s letter above). Possibly Hardie’s most outstanding achievement was the famous exhibition of 1926 which reinstated Samuel Palmer as a major artist and made him a potent influence in the mid twentieth century (Palmer remains a constant presence in the archive). Hardie wrote his Water-colour Painting in Britain, published posthumously in 1966-8, during these war years when, as the archive shows, he was active in many fields even though nominally retired.

This archive, along with the other letters in the present sale, was acquired in 1968 by the dealer and publisher Kyril Bonfiglioli, now best known for the inimitable Mortdecai novels. As a dealer, Bonfiglioli shared a taste for watercolours with Hardie: ‘Opening nights of his regular exhibitions of old English watercolours caused queues along the Turl, and he sometimes sold a third of the stock at the private view’ (Margaret Bonfiglioli, ODNB). With the Hardie archive is a letter by Frank Hardie, sending Bonfiglioli a letter by his father (“...Dear Bon,/ Are you still maintaining – and extending – your collection of artists’ autographs?...), together with a handful of other letters to Bonfiglioli (one, by Brinsley Ford on the subject of Richard Wilson, recycled into a note to be stuck on the door of Bonfiglioli’s premises – “Gone to lunch/ 1.30”).

Books, Maps, Manuscripts & Historical Photography | 101 115 ART IN BRITAIN - NEOCLASSICAL and EARLY ROMANTIC Collection of autograph letters and printed ephemera relating to late eighteenth and early nineteenth century painters and sculptors working in Britain, including rare autograph letters signed by De Loutherbourg (expressing himself “Sincierly readdy to give Mr P[ratt] any assistance in power, concerning his intended works”), Francis Wheatley (“...your Lordship will therefore be so obliging to order a good impression...”) and Theodor von Holst (“...best Compliments to Miss Rolls and begs to return the Bride of the Tombs with many Thanks for the high Gratification he has had from its perusal...”); with a signature of Constable (“John Constable R.A.”) scored through with that of the portrait painter Thomas Phillips substituted, an address in a third hand below; together with an attractive collection of printed admission tickets signed by Fellows of the Royal Academy and others, comprising four for RA exhibitions signed by Nollekens (1820), Henry Raeburn (1821, in favour of Lord Meadowbank), Hilton (1821), Flaxman for Miss Flaxman (1825) and Charles Landseer (1861-2) and two for RA lectures signed by Henry Fuseli (one professionally divided with initialled note on reverse); together with a non-subscribers ticket for the Artists Conversazione at the Freemasons Tavern, 1828, signed by William Mulready for Michael [his younger son and collaborator], the tickets laid down on card cut from an album, 16mo £1,000 - 1,500 €1,200 - 1,700

THE DUKE OF WELLINGTON VIEWS THE ELGIN MARBLES: Included in the lot is an autograph admission note signed by William Hamilton, Lord Elgin’s private secretary: “Admit The Duke of Wellington to see the Elgin Marbles”, 1 page, some wear, 8vo, 30 July 1816. It had been Hamilton who had earlier seized the Rosetta Stone from the French and who, acting for Lord Elgin, collected together the Parthenon Marbles and superintended their removal; as well as organizing their rescue when part of the shipment was wrecked off Cerigo.

116 ART IN BRITAIN Collection of nineteenth and twentieth century letters by painters, architects, designers and sculptors, including Benjamin West (8 September 1817: “My Large Picture [Death on a Pale Horse] is nearly completed, and when done will be moved into the Room in Pall Mall for Exhibition [where Keats was to see it in December]...”), Ford Madox Brown (2), John Singer Sargent (in support of the animal painter Frances Fairman), Edward Burne Jones (3, thanking one recipient for “verses which touched & moved me a good deal” and asking another about mounting watercolours), Auguste Rodin, Benjamin Robert Haydon (two autograph letters, one ordering cards, the other ordering a Flaxman; plus a presentation signature), James Holland (to the dealer Vokins, about a Venetian picture he has repainted for a client), Sir Thomas Lawrence (four, to Colnaghi and others), Henry Raeburn, David Roberts (group), William Nicholson, William Orpen (three, settling terms, and discussing a portrait), James Northcote, John Linnell, David Wilkie (six, one expressing his admiration of Delacroix, another requesting a sitting for The First Council of Queen Victoria), William Westall, Edward Wadsworth (three letters to Arnold Bennett, about the preface Bennett contributed to the important Leicester Galleries exhibition of 1920; with Bennett’s typed replies), “Fred” ( i.e. Frederick Walker: four letters, three illustrated), E.M. Ward (fine series to the critic Hepworth Dixon of the Athenaeum), G.F. Watts (group), James Tissot (to Joseph Crawhall), John Lavery, Ernest H. Shepard (“...very glad of good humourious ideas for drawings...”), Clarkson Stanfield, Charles Barry (group of autograph letters, plus a printed ticket to view ‘the Works of the New Houses of Parliament’, a caption for the elevation of the Travellers Club “now erecting in Pall-Mall” and letters by his son), William Roberts (three, discussing works executed soon after the Great War, including illustrations to Osbert Sitwell), Charles Ricketts, A.W. Pugin (two, one to Lord Shrewsbury, his chief patron at Alton Towers: “I will not fail to bring the pencils I have to go to Albury, Sileby & Nottingham so I fear it will be Friday Morning before I reach Alton... I will send back the printed rag to the manufacturer but it is not positively worth the postage it is wretched”; in the other owning himself to be “very little of a Practical painter”), John Hoppner (to Sir William Beechey), Edwin Landseer (group, to the dealer Vokins and others), Frederick Sandys, William Havell (describing a tour of Germany, 1836), Lord Leighton (group, including copyright receipts), Daniel Maclise, Mortimer Menpes (illustrated), J.E. Millais (group), William Mulready, Bernard Berenson (two fine letters, 1893-5, to Cosmo Monkhouse, about his monograph on Lotto), H.K. Browne, Birket Foster (to H.S. Marks), Chantrey, Chalon, Maria Cosway, Rev Sydney Smith, Sawrey Gilpin, John Leech, Alfred Munnings, John Boydell (document signed as JP), Robert Hills, William Hilton, William Russell Flint (to the Hon Charles Lennox-Boyd, concerning an enquiry), Stanhope Forbes, Selwyn Image, Gerald Kelly, Francis Grant, Stephen Bone (lively letters to his father, Muirhead, and mother, c.1928), George Barret (discussing a commission for vignettes: “If they are to illustrate a poetical work I shall be more likely to succeed, as my mind will then be free to invent; & poetry has a stimulating charms for me”), George Cruikshank, David Cox, William de Morgan, Sir Charles Eastlake (group, to William Bewick, Severn and others), William Etty (including drawings by him on an incoming letter), Michael Ayrton (discussing illustrations, 1962), E.H. Bailey (sculptor of the Trafalgar Square Nelson), Benjamin Barker, and many others; plus a file of letters concerning the Lane Bequest (including letters by Ellen Duncan of the Municipal Gallery of Modern Art Dublin and Lane’s friend Alec Martin of Christie’s, with one letter to Lane himself, all but the latter 1916), in seven black plastic folders £2,000 - 3,000 €2,300 - 3,500

102 | Bonhams 116

A SUBSTANTIAL COLLECTION OF LETTERS BY MAINLY BRITISH ARTISTS, which appears to have at one time been owned by, and at least partly assembled by, Kyril Bonfiglioli, author of the Mortdecai novels, during his career as an art dealer in Oxford. For example, the rare letter by James Holland is accompanied by one to Bonfiglioli from the Holland scholar, Morley Tonkin. Other correspondents of Bonfiglioli include Warden Sparrow (asking for a picture to be delivered c/o Mrs Betjeman), Maeve Peake (replying on behalf of Mervyn during his last illness), Alan Sorrell and Kathleen Hale. Among various drawing included are examples by Austen O. Spare (watercolour of a Grecian mask, signed), Charles Condor (ribald pen-and-ink sketch on the back of an envelope addressed to him), Donald McGill (watercolour design for a postcard, about letter-writing), William Etty (charming domestic sketches on an incoming note of 1826), and J. Lockwood Kipling (caricature self-portrait, showing him taking medicine by a fireplace in which an orchestra is playing, drawn on the reverse of at home for music invitation). See also the papers by Martin Hardie in the present sale, and other lots.

Books, Maps, Manuscripts & Historical Photography | 103 117

117 BEERBOHM (MAX) The original caricature of FitzGerald’s Omar Khayyam with his book of verses, jug of wine and loaf of bread underneath the bough and being sung to in the wilderness, with each object being itemised in pencil, namely: “1 – Book of Verses/ 2 – Bough/ 3 – Loaf of Bread/ 4 – Jug of Wine/ 5 – Thou/ 6 – Wilderness”, signed in ink in the lower right-hand corner (“Max”) and captioned above the key in ink “Omar Khayyam”, the figures drawn in black ink and filled with pale blue, red and ochre washes, drawn on laid paper, laid down within a modern white card mount, framed, 319 x 202 mm., 1904 £2,000 - 3,000 €2,300 - 3,500

‘A JUG OF WINE, A LOAF OF BREAD – AND THOU BESIDE ME SINGING IN THE WILDERNESS’: MAX’S CELEBRATED CARICATURE OF OMAR KHAYYAM. This superb drawing was first published in Beerbohm’s second collection, The Poets’ Corner (1904); the original appearing in his second one-man show at the Carfax Gallery the same year, the exhibition prompting The Athenaeum to dub Max ‘our one and only caricaturist’ and his drawing of Omar ‘as idyllic and charming as it is funny’ (28 May 1904, quoted by N. John Hall, Max Beerbohm: A Kind of Life, 2002, p. 54).

Max is here spoofing the final and most famous version of Edward FitzGerald’s oft-quoted twelfth quatrain:

A Book of Verses underneath the Bough, A Jug of Wine, a Loaf of Bread – and Thou Beside me singing in the Wilderness- Oh, Wilderness were Paradise enow!

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118 BROWN (FORD MADOX) Collection of six autograph letters and cards concerning the memorial fountain to Dante Gabriel Rossetti at Cheyne Walk, including one to “Dear John P.” (“...Today I think I have done about as much as I can to the Rossetti Model, & on the whole am well satisfied with it. As soon as cast in plaster which will take a week or more to pack & send one cast of it to Paris & another I shall try to exhibit here for a few days & then send it on to you in London with the small model... I have given the wild-duck tap of the fountain out to a Manchester artist to model in large. He will not charge much I dare say & I really have not time to do that – As it is I am terribly behind with my Town Hall work. But I have given him a small one I modeled of it to go by...”); four to Buxton Forman, treasurer of the memorial committee, discussing subscriptions, as well as payments owing, or not owing, to their French agent and foundry (“...he was 100fs out of pocket for carriage of the Models & getting the three ‘plaques’ or mane [?sic for name] and dates modeled in Paris as I told him to do...”); and one to Mr Benson, sending him a circular (“...The Drinking-Fountain with my bronze Alto-relief are now complete & very shortly will be erected on the embankment in front of the Poet-Artist’s house...”), 15 pages, light dust- staining, occasional traces of mounting, 8vo, 1885-7 £600 - 800 €700 - 930

FORD MADOX BROWN AS SCULPTOR OF THE ROSSETTI MEMORIAL: Brown, responsible for the bust of Rossetti and surrounding plaques, had taught Rossetti as a young man and was also related by marriage (his daughter Lucy being married to Rossetti’s brother, William). Recipient of the first card is the ecclesiastical architect John Pollard Seddon, responsible for designing the monument. He had been a close friend, and it was at his cottage that Rossetti died. Recipient of the next four letters is the bibliographer and forger Harry Buxton Forman, who served as treasurer to the committee. The monument, at Cheyne Walk on the Chelsea Embankment, was unveiled by William Holman Hunt on 14 July 1887.

119 BURNE JONES (EDWARD) Six autograph letters signed (“E. Burne Jones” and “E.B.J.”), to Francis (Franz) Hueffer, discussing drawings (“...that unfinished drawing – unless I bring it, unfinished as it is you ma never have it for it never will be finished -- & we shall depart into space, both of us, unsatisfied about it – so I shall bring it & you must forget its roughness & sketchiness if you can...”), pianos ( “...The long piano is Miss Faulkners design as well as workmanship – I had nothing to do with it... if by any means – supposing you follow with a second article – the praise could be given to he, it would be nice – for every bit of it is her unhelped – and I have the greatest admiration for her and felt a pang at having her ewe lamb dished up at my banquet of repletion...”), reviews (“...never will I read one of them – nor have I for years – they are meant for the public (whom they don’t much affect) and not the artist who is often much affected by them – with double discouragement & treason to himself – good bad or indifferent ...”); with four autograph envelopes, 14 pages, some dust-staining, 8vo, Rottingdean and the Grange, postmarked 1871-79 £600 - 800 €700 - 930

BURNE JONES TO FRANCIS HUEFFER, music critic, son-in-law of his friend and fellow painter Ford Madox Brown, and father of the novelist, Ford Madox Brown (Hueffer). A letter by Georgiana Burne Jones to his wife Cathy is included in the lot.

Books, Maps, Manuscripts & Historical Photography | 105 120 BURNE JONES (EDWARD) Two autograph letters signed (“E Burne Jones”), to the poet and critic Cosmo Monkhouse, lamenting the ways of restorers: “for miserable wretches have got hold of my picture of ‘Love Amongst the Ruins’ which was painted in water colour -- & have treated it as an oil painting & varnished it with white of egg to make it shine for their hellish reproductions, & I suppose washed the mess off again with warm water & there is no more that picture in the world – if it matters – at least it is a piece of my life lopped off me – a child murdered – many another hateful image to be made of it – I am and have been sick with a sort of despair at the uselessness of striving. I want other men warned – I want it to be widely known what tricks these wretches play with pictures entrusted to them” and in the next letter informing him that “I am trying to make a record of ‘Love in the Ruins’ with an angry heart – for I haven’t much time left for such waste”; with two letters from Scribner’s to Monkhouse (see below), Burne Jones’s letters 7 pages, light dust-staining, 8vo, the Grange, undated [late 1893 and/or early 1894] £600 - 800 €700 - 930

‘SHINE LIKE FOR OF THEIR HELLISH REPRODUCTIONS’: BURNE JONES ON THE DESTRUCTION OF A MASTERPIECE: its ruination at the hand of printers notwithstanding, Love Amongst the Ruins has become one of Burne Jones’s best-known pictures, thanks to the oil reconstruction of 1894 now at Wightwick Manor (National Trust), which was published as an etching in 1899. This is the “record” made “with an angry heart” referred to in the second of his letters.

Burne Jones’s letters can be dated from two by Edward Livermore Burlingame of the New York publishers Scribner’s to Monkhouse, dated 9 November 1893 and 24 March 1894. The first sends Monkhouse proofs of the plates illustrating his article ‘Edward Burne-Jones’, which was to appear in the February 1894 issue of Scribner’s Magazine, requiring immediate approval. The second congratulates Monkhouse on the published article and commissions a follow-up on G.F. Watts (published that December). In the first of his undated letters, Burne Jones writes: “I have just come back, to find your letter -- & its most agreeable enclosure from Scribner’s – I return it at once”.

121 BURNE JONES (EDWARD) Autograph letter signed (“Ned”), to “My Blessed St C.”; a letter of concern, tinged with anxiety: “I will try to come. I will, -- if I cant it wont be for want of trying. I want to be with you for a little bit in this life. I saw Calvin yesterday and he told me many a pretty tale of Dunira – he told me of somebody who had made merry with me in a magazine and that you were angry and I don’t want you to be angry my dear, but to rest and let these things go by – if it can hurt me then I deserve it – lets think of nice things to the end now: its very friendly and nice of Tyrwitt [sic], but I didn’t know of it all – and if I can be at Hawarden with you it will be happy for me – its near seventeen years since I had a chance of having enough of you – and I’m better fitted for it now than then – adieu”, 1 page, integral blank, traces of guard on verso, 8vo, The Grange, no date [probably early October 1878] £600 - 800 €700 - 930

‘LETS THINK OF NICE THINGS TO THE END NOW’: BURNE JONES TO THE AILING RUSKIN. Ruskin paid two visits to Hawarden, Gladstone’s country estate, in January and October 1878, the second after calling in on the Grahams at Dunira. Between the two visits he had suffered the first of his chronic mental breakdowns. The year before he had launched his notorious attack on Whistler, in an article that also praised Burne Jones. The court hearing of Whistler’s resulting action for libel had been postponed because of Ruskin’s precarious health until November, the hapless Burne Jones being called as principle witness. Our letter shows that Burne Jones was all too keen that his champion desist from any more forays on his behalf. As for Whistler, he told Mary Gladstone at the beginning of the debacle: ‘I wish all that trial thing hadn’t been; so much I wish it, and I wish he knew that it made me sorry’ (November 1878, Some Hawarden Letters, p. 51).

‘St. C’ was the nickname used by children in addressing Ruskin, standing either for ‘St Crumpet’ or ‘St Chrysostom’ (the golden-mouthed).

122 BURNE JONES (EDWARD) Pencil study of a female nude, in profile turning to her right, her right arm resting on a level with her left arm across her body, the fingers of her left hand clasped by her right, her head looking down, her hair tied back by a scarf, graphite on paper, traces of mounting at corners, 8vo (71 x 51mm.) £400 - 600 €460 - 700

With a typed slip: “Sir E. Burne-Jones/ ex coll John N. Bryson, Balliol” ( Bryson bequeathed Rossetti portraits of Lizzie Siddal and Fanny Cornforth to the Ashmolean along with drawings by Cezanne and others, in 1977; others of his property being sold at Christie’s sale of Highly Important Old Masters, 8 July 1977).

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123 BURNE JONES (EDWARD) Autograph letter signed (“Ned”), to “My dearest Hajie”, announcing the death of a friend: “Our dear Top died To-day – I saw him for the last time yesterday, but I do not think he knew me – on Tuesday he was much worse and since then all has been hopeless (he had little pain – just dwindled & dwindled away – a telegram has just come as I was starting to go to him”, 2 pages, 8vo, The Grange, “Saturday” [3 October 1896] £400 - 600 €460 - 700

‘JUST DWINDLED & DWINDLED AWAY’: BURNE JONES TO SWINBURNE, ANNOUNCING THE DEATH OF WILLIAM MORRIS. When Swinburne met Morris, Rossetti and Burne Jones while they working on their Oxford Union murals in the autumn of 1857, Burne Jones remarked that ‘Now we were four in company not three’ (Georgina Burne-Jones, Memorials of Edward Burne-Jones, 1904, i., p. 163). This intense friendship, fuelled by shared ideals and mutual hero-worship was to last until death. Rossetti of course was the first to go, dying in 1882. Morris’s death on 3 October 1896 struck Burne Jones especially hard, and is widely seen as presaging his own end: ‘In 1896 Ned and Georgie were cast down by the death of their great friend Morris. Burne-Jones had further cause to reflect upon old friendships when in 1897 he helped to organize an exhibition of works by Rossetti for the New Gallery. He seems to have grown old before his time, burdened by an awareness of so much unfinished work and a sense of life’s shortness. His health was never robust, and by the late 1890s he was distinctly frail. He died of angina on the night of 16 June 1898, at home at The Grange’ (Christopher Newall, ODNB). Shortly before his death, Burne Jones dedicated his painting Love Leading the Pilgrim to Swinburne, while Swinburne was to dedicate his last collection A Channel Crossing to the memory of his friend. Only part of their correspondence survives, most of Swinburne’s side having been burnt by Burne Jones in 1890 while confessing that they were ‘such brilliant ones... I was loth to let them go’ (Memorials, ii, p. 206; see John Christian, ‘Speaking of Kisses in Paradise: Burne-Jones’s Friendship with Swinburne’, Journal of William Morris Studies, August 1998, pp. 14-24).

Morris was known to his friends as ‘Topsy’, or ‘Top’, after the slave girl in Uncle Tom’s Cabin on account of his uncontrollably curly hair. Swinburne’s nickname of ‘Hadji’ derived from his childhood and reflects his father’s naval career in the East, where he had to deal with the peremptory demands of a real-life Hadji.

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124 FLAXMAN AND THE NELSON MONUMENT Autograph letter in the third person by John Flaxman (“Mr Flaxman”), to the publisher Sir Richard Phillips, explaining that he is “so intirely occupied in works which must not be delayed that [he] will not be able to make the outline for Lord Nelson’s Monument until the days are longer”, 1 page, 4to, Buckingham Street, 28 November 1814 £400 - 600 €460 - 700

FLAXMAN ON HIS MONUMENT TO NELSON: Nelson’s admiration of Flaxman is recorded in his correspondence with Captain Berry of 1801 when he contributed £200 towards Flaxman’s monument to Captain Ralph Miller at St Paul’s; he also told E.H. Baily that if ever a statue were made of him he hoped Flaxman would carve it (Richard Walker, The Nelson Portraits, 1998, p. 175).

A national monument to Nelson had been commissioned in 1807. Flaxman had won the competition sponsored by a Committee of Taste, although subject to the condition that he follow a design submitted by a rival, Richard Westmacott. He received a first payment of £2100 on account of £6300 in 1807, with further payments following in 1815 and 1818. The monument was finally erected in May 1818. Flaxman is known, from a report by Nollekens to Farringdon, to have been working on it in 1808, so the chronology is confusing; nor is this helped by confusion as to whether Flaxman’s statue of Nelson is being referred to, or the monument into which it was incorporated. A year after our letter Flaxman was still pondering two options, that of a nine- foot statue on a pedestal, rising to some twenty feet – the one eventually decided on – or a forty-foot high column (letter by Flaxman to William Gunn, 29 December 1815, Norfolk Record Office, WGN 1/5/31).

There were of course other monuments erected to Nelson at this time. Flaxman is known to have taken part in the competition for the Liverpool monument, but lost to Westmacott. Besides, this had been erected in 1813 and so can be ruled out. So it seems pretty certain that both letters refer to the St Paul’s monument. Our recipient, Richard Phillips, had been knighted by George III in 1808 after presenting him with the Loyal Address in 1808, as one of the Sheriffs of London. He was proprietor of the popular Monthly Magazine, but also lent his support to radical causes, having been imprisoned for selling Paine’s Rights of Man. So this letter may have been sent to him in some sort of civic capacity or in his role as publisher. For further discussion see Flora Fraser, ‘If You Seek His Monument’, in The Nelson Companion, edited by Colin White (1995) and Richard Walker, The Nelson Portraits (1998).

108 | Bonhams 125 HUNT (WILLIAM HOLMAN) Four autograph letters signed (“W Holman Hunt”), two to his fellow painter Alfred William Hunt and his wife, taking them up on their offer of a studio (“...I have been suffering a great deal of annoyance from having to go all the way to West End near Highgate to my work – of late the difficulty has been increased by annoyances that I suffer when there. I feel now altho’ I have only another two weeks work to do to pictures begun there that it is possible I may have to leave tomorrow, in which case it would be a very great advantage if I had permission to use yours...”) and thanking her for her “kind note” [on his second, controversial, engagement to his deceased wife’s sister]; one to the dealer Ernest Gambart (“...I want to ask you about one Rothschild, an exhibition agent once, as he represents, in your high estimation...”); and to an unnamed gentleman, discussing commissions (“...The poem of ‘Temujin’ at once recommends itself to me as offering some good points for illustration and I will undertake to do a drawing for it as soon as I get a quiet few hours. I shall take a peculiar pleasure in this task as the Author [Thoby Prinsep] is a much esteemed friend of mine whose assistance I can make sure of to get the best authority of appropriate costume. The prose tale I feel I can also undertake. The poem called the Betrayal I do not feel so certain about...”), 8 pages, a few fox marks etc., 8vo, Tor Villa and Wilton Street, Campden Hill, 13 December 1859, 3 June 1864, 24 June 1873 and 30 August 1874 £500 - 700 €580 - 810

126 JOHN (AUGUSTUS) Autograph letter signed (“Augustus John”), to his fellow painter Peter Harrison of the NEAC, commenting on his Alpine Club exhibition in the winter of 1917-18 and his experiences as a war artist (“...There was a lot of damned unfinished stuff. No, I try to approach smart ladies – or receive their approaches with an unprejudiced mind; if they give themselves away it’s not my fault, it may even be my advantage!...”) and looking forward to seeing him London (“...Let me finish off that portrait...”); with two typed letters signed by George Moore (see below), 4 pages, the John letter on a sheet torn from sketch pad, some creasing and wear at edges, the earlier Moore letter worn and repaired, 4to and small folio, John’s letter from the Canadian Corps HQ, British Expeditionary Force, 21 February 1918; Moore’s letters from Ebury Street, 1 December 1916 and 5 February 1918 £400 - 600 €460 - 700

‘SHELLS & MINES HAVE MADE SORT OF EARLY ITALIAN LANDSCAPES’: AUGUSTUS JOHN AT THE WESTERN FRONT. In 1917 John had been granted by the Canadian war records office a commission in the overseas military forces of Canada, and, ‘attired as a major with an alarming likeness to George V, he patrolled the Somme and Vimy Ridge making accurately observed drawings of soldiers but never bringing them together beyond the cartoon stage’ (Michael Holroyd, ODNB). In our letter he is still optimistic that a major work will be forthcoming and tells his fellow artist: “I don’t find the war drab yet by any means. It’s a devil of a big thing to squeeze into even the largest canvas but I’m beginning to form an idea of what I can make of it. Collecting details will take a good while... Don’t tell me you’ve given up painting – It’s the one sound occupation. Everything twinkles on the front and the shells & mines have made sort of Early Italian landscapes”.

The two typed letters signed by George Moore are both about John. The first, to Harrison’s friend Henry Tonks, compares him to Manet, albeit with reservations (“...John’s extraordinary portrait of Lord Fisher, the best thing that has been painted in the way of heads since Manet ceased to paint...”); while the second, to Harrison, criticizes the Alpine Club show (“...Johns exhibition does not suffer in my opinion from too much personality, it suffers from too much capital letter; everything he writes is in capital letters; everything is in a major key and major keys are only possible in music. They are very seldom permissible in the other arts. Good writing is always in a minor key. This is my last discovery, my very last...”).

127 LANDSEER AND THACKERY Autograph letter signed with monogram by Sir Edwin Landseer to William Makepeace Thackeray, reminding him of an engagement, with a signed autograph note at the foot by Thackeray passing the letter on to Mr Whitmore (“...Have you got Sir Edwin Landseer’s sign-manual in your collection?...”), 1 page, trace of mounting, 8vo, 19 and 20 January 1852 £400 - 600 €460 - 700

Included in the lot is a lively pen-and-ink drawing by Landseer of a pointer and springer spaniel on a reeded bank raising a mallard, backed with an album leaf, unsigned, 76 x 88 mm.; together with a pen-and-ink sketch by Thackeray of a cat seizing a mouse in its left paw, signed faintly above the elongated mouse tale with monogram, laid onto a fragment of album leaf, c.58 x 68mm..

Books, Maps, Manuscripts & Historical Photography | 109 128 LINNELL (JOHN) Autograph letter signed to Linnell (“My Dear Mr Linnell”) by his wife, Mary (“M Linnell”), supplying him with news from home (“...a number of Advertisements of Mr Chevalier’s Portrait [Linnell’s commemorative print of the surgeon Thomas Chevalier, a close friend of Mary’s father] have been left in Cirencester Place – if you wish them to be sent any where let me know...”) and of his family (“...The Children are all quite well they cannot forget their Papa, and much miss the Good Night Kiss – They have all fun scribbling in the Letter...”) and begging him to write again soon; embellished overleaf with the ‘scribbles’ by the children: Elizabeth and Hannah contributing houses, trees, people and horses, John faces and limbs, and James “his Mark”, the contribution of each identified by their mother with initials; with at the centre a study by Linnell in pencil of a mother seated by a window with two children; integral address leaf directed to Linnell at Mr Finlayson’s, 404 High Street, Cheltenham, postmarked, 1 page, some dust-staining, 4to, [Collins Farm, North End, Hampstead], 5 January 1825 £3,000 - 4,000 €3,500 - 4,600

ILLUSTRATED WITH DRAWINGS BY LINNELL’S CHILDREN, INCLUDING HANNAH, FUTURE WIFE OF SAMUEL PALMER, AND BY LINNELL HIMSELF WITH A STUDY FOR HIS PORTRAIT OF MRS DARLING AND TWO OF HER CHILDREN – made prior to the departure of Governor Darling for New South Wales.

Linnell had married Mary in 1817, their first child, Hannah, being born the following year. By the time our letter was written, they had four children: Hannah, Elizabeth, John and James. Linnell spent much of his time away from home, working to support his family, while maintaining friendships with William Blake, whom he had met in 1818, and Samuel Palmer, met in 1822 and introduced to Blake in 1824. Palmer was to marry Hannah in 1837.

Linnell was at Cheltenham between the 2nd and 17th January 1825 to paint a group of portraits of General Ralph and Mrs Darling and their children; Darling having been appointed Governor of New South Wales on 12 November 1824, and taking up his duties a year later. Probably the best known of this group is Mrs Darling and Two of Her Children, for which our drawing is a study, now at the National Library of Australia: the finished picture shows both children standing and with the album replaced by a table, making it may be thought for a less fluid if more didactic composition. Although Ralph Darling has acquired a harsh reputation as governor, this of course is not the whole story, as Brian H. Fletcher points out: ‘He ensured that convicts were exposed to the teachings of the church and, with Eliza Darling’s help, did much to improve conditions at the female factory, which housed women who were awaiting assignment, as well as those who had misbehaved after reaching the colony. Efforts were also made to ensure that convicts who had been sent out as children were properly educated’. He was, furthermore, deeply attached to his wife and children, his family life ‘displaying a degree of warmth and softness that he never revealed in public. The household was deeply religious, and Elizabeth Darling engaged in philanthropic work, besides pursuing her interests in music, literature, and art’ (ODNB).

John Thompson has drawn particular attention to the narrative underlying this picture: ‘more could have been made of the circumstances of the execution by the English Romantic painter John Linnell (1792–1882) of the companion portraits of New South Wales governor, Ralph Darling, and a grouping of his wife Eliza (Dumaresq) and their children, probably Frederick and Cornelia. Painted in England in 1825 at the home of Eliza’s father near Cheltenham before the Darlings sailed to Australia, were these portraits for the private consolation of a family left behind or did they travel with the Darlings to Australia? What was their provenance before they entered the collection of the National Library of Australia... In short, it may be asked, what is the human story of this suite of Darling family portraits?’ (‘At the National Portrait Gallery: Art or History?’. reCollections: Journal of the National Museum of Australia, Volume 5 number 1, April 2010). One might ask, in a similar vein, whether the altered iconography of the painting was dictated by the sitter or the artist, and how much Linnell’s own domestic feelings, stirred surely by receipt of this letter, influenced matters.

Our letter gives Linnell’s address as “Mr Finlayson’s/ 414 High Street/ Cheltenham”. This was a music shop that possessed ‘many advantages from his immediate connection with the house of Messrs Broadwood and Sons, of London’, and had a stock ‘of musical instruments of every description’ and ‘musical compositions, ancient as well as modern’ (Griffith’s New Historical Description of Cheltenham and its Vicinity (1826), p. 75).

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129 ORPEN (WILLIAM) Illustrated autograph letter signed (“William Orpen”), [to Peter Harrison], looking forward to meeting and wishing him meanwhile “a good summers work and a happy one”; docketed “Drawing & letter from Orpen to Peter”, 1 page, 4to (228 x 178mm.), no place or date £400 - 600 €460 - 700

ONE OF SARGENT AND BOLDINI’S MOST FAMOUS SITTERS IS SKETCHED BY ORPEN: Lawrence Alexander ‘Peter’ Harrison (1866-1937) was a close friend of John Singer Sargent, accompanying him on tours of the continent and appearing, with other of his family, in a series of virtuoso watercolours by the master. He is also the subject of one of Boldini’s most brilliant ‘swagger’ portraits. Harrison was a painter himself and member of the New English Art Club, with whom he occasionally exhibited; and was friends with Philip Wilson Steer and Henry Tonks (see their letters in the present sale).

Orpen has sketched Harrison in brush-and-blue-black-ink, and shown him with a somewhat quizzical expression being harangued by Orpen while holding a glass of wine and lit cigarette. Fittingly, the sketch takes up most of the letter. From the sitter’s appearance, this drawing would appear to date from the 1920s.

Books, Maps, Manuscripts & Historical Photography | 111 130 RACKHAM (ARTHUR) Collection comprising a printing of the title-page of The Zankiwank and the Bletherwitch, inscribed by Rackham on the reverse for an Board of Education exhibition as being a proof ; a pen-and-ink self-caricature of him at work inscribed “Daddy” on a postcard to his daughter Barbara; proof of an etched plate for Xmas 1900 and illustrated cards for Christmas 1912 and Barbara’s marriage in 1935; a colour plate of ‘Titania Asleep’ made into a greeting card and inscribed by Rackham; a memorial exhibition catalogue, Leicester Galleries,1939, and two prospectuses for Rackham’s Wind in the Willows £400 - 600 €460 - 700

The Zankiwank and the Bletherwitch was the first book in which Rackham is named as illustrator on the title- page.

131 ROBERTS (DAVID) Autograph letter signed (“David Roberts”), to Allan Cunningham, who has offered to contribute the letter- press for the contemplated publication of his drawings from the Holy Land: “It will be published in parts, but not for some time, as the drawings are to be Exhibited – Most probably the first part will not be issued untill Autumn. It will be confined to Palestine, Idumea, & the Wilderness of Sinai, or rather commencing with the latter, and following the rout of The Israelites on their leaving the land of Goshen – and if successful, will be followed up by Egypt and Nubia”, 2 pages, integral blank, 8vo, Fitzroy Street, 27 March 1840 £600 - 800 €700 - 930

ROBERTS ON THE FORTHCOMING PUBLICATION OF HIS HOLY LAND: Davids had returned from the Holy Land the previous July and between 1842 and 1849 issued his great series of 247 lithographs of The Holy Land, Syria, Idumea, Arabia, with Egypt and Nubia.

In the event the letter-press was supplied by the Rev George Croly; although from our letter it is clear that Roberts would have preferred Cunningham : “I would not desire to be in better hands, But I know Moon has spoken to Crolley [sic] regarding it, nothing I know has been settled, of the two I would give you the preference, not only from your intimate knowledge with art, including architecture – but as a Scotsman and a good man your intimacy with Scriptural history and its bearings upon the subjects – and as competent as any parson in the country, more especially a political one, -- from this you will perceive – he is no favourite with me. – and I feel confidant that with my notes (I mean those descriptive of the subject of the drawings) The task would be an easy one – and with you one of pleasure”.

Cunningham had been employed when young as a stonemason and had then worked for the sculptor Sir Francis Chantrey, in addition to scraping a living as general author and writer of ballads. Carlyle, normally contemptuous of such London scribblers, wrote of him: ‘Allan Cunningham I love; he retains the honest tones of his native Nithsdale true as ever; he has a heart and a mind simple as a child’s but with touches of a genius singularly wild and original’ (Collected Letters, 3.139). Sadly however, Cunningham had already suffered what was probably some sort of stroke in 1839 and was to die of a second attack in 1842, so the political parson got the job instead.

132 ROSSETTI (DANTE GABRIEL) Four autograph letters and one receipt signed (“D G Rossetti”), to the dealer and print publisher Ernest Gambart (one to his colleague J.F. [sic for F.J.] Pilgeram), concerning the sale and commissioning of both paintings and drawings: Rossetti looks forward to discussing future work (“...When next I see you, I want to make a proposal as to some work I have in my head...”); fends off criticism (“...You are entirely wrong in supposing that the little drawing of Spring is not quite up to my work. I do not care a bit that any artist should possess work of mine except those who would know, as I do, that this is a piece of work they might well be glad to possess. In size only this one is, as I professed to you in doing it, not of equal consequence with the rest. When I do the other season drawings, I shall place them elsewhere, with a repetition of this...”); turns down other work (“...As for drawing from Dante I shall not be able to do any at all of these among those I shall be sending you, as they are things which I can only do to my own satisfaction with an amount of study demanding a higher price...”); and sends a favourable review (“...one must not be afraid to blow one’s own trumpet...”), etc.; the receipt is for £100 on account of £210 paid by Gambard for The Blue Bower; letters on paper bearing his engraved monogrammed Cheyne Walk heading, receipt signature written over the revenue stamp, 9 pages, some dust-staining, 8vo, 16 Cheyne Walk, Chelsea, 3 February to 28 May 1865 £600 - 800 €700 - 930

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ROSSETTI PAINTS THE BLUE BOWER FOR ERNEST GAMBART, ‘PRINCE OF DEALERS’: this culminating portrayal of Fanny Cornforth is among Rossetti’s best-known works, described (with qualified approval) by his brother William as ‘a half-figure of a woman playing a musical instrument’ and ‘one of my brother’s most vigorous and brilliant pieces of painting, with much sumptuous accessory’; and more recently as a ‘painting whose ostensible subject is the art of music, but which is essentially a carefully organized combination of shapes and colours’ (W.M. Rossetti, Dante Gabriel Rossetti as Designer and Writer, 1889, p. 54; J.B. Bullen, ODNB). It was recently the centre-piece of the exhibition held at the Barber Institute for Fine Arts, University of Birmingham, The Blue Bower: Rossetti in the 1860s (catalogue by Paul Spencer-Longhurst, 2000).

The picture had been begun by 18 April 1865, when Rossetti wrote to Ford Madox Brown that he’d started ‘an oil-picture all blue for Gambart, to be called “The Blue Bower”’, and finished by 8 October. Gambart paid 200 guineas (£210) and sold it on a year later to Agnew’s for 500 guineas. It was then bought by Samuel Mendel, a textile merchant, for a figure rumoured to be 1,500 guineas; a figure Gambart accused Rossetti of inventing. Dealer and painter however remained on good terms, and Rossetti satisfied with the price Gambart had paid (Spencer-Longhurst, pp. 8 and 16). The painting is now at the Barber Institute.

These letters are printed by William E. Fredeman, The Correspondence of Dante Gabriel Rossetti, 2003.

133 THORVALDSEN (BERTEL) Autograph note together with a lock of his hair, both authenticated by Baroness Christine Stampe: “Written by Thorvaldsen./ Chr Stampe” and “Thorwaldsens hair cut off at Nysöe by Christine Stmape/ 1843/ & given to EW. 1844”, the note in pencil on re-sized paper treated with a fixative, oblong 8vo; the lock of white hair in a 32mo envelope, 1843 £400 - 600 €460 - 700

Thorvaldsen spent much of his time after his return to Denmark with Baron Stampe and his wife Christine, their estate at Nysø in Southern Zealand providing him with a second home free from the pressures of fame that attended him at Copenhagen. The Baroness provided Thorvaldsen with a studio-pavilion in the garden which is still in existence and was also responsible for preserving his plaster day models, which in the normal course of events would have been recycled, from destruction. The Thorvaldsen Collection at Nysø was established in 1926 as an annex to the main museum at Copenhagen. The lock of white hair in the present lot was cut by her at Nysø in the last year of the sculptor’s life.

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134 WHISTLER (JAMES ABBOTT McNEILL) Two autograph letters, the first signed “J Mc:Neill Whistler”, to Miss Mackenzie, discussing the forthcoming show at the Society of British Artists for which he is sending an invitation; the second signed with his butterfly: “Another reason for the pink of Mr [Mortimer] Menpes’ house – With compliments, and without reproach to the charming ‘Flower o’May’” [i.e. May Morris]; 3 pages, the second time-stained at the edges from framing, oblong 8vo, undated [autumn 1886 and possibly 1888] £400 - 600 €460 - 700

Whistler had been elected President of the Society of British Artists in June 1886 and was closely involved with their winter exhibition held in 1886-87, which opened in November. The butterfly letter would appear to allude to the spat between Whistler and Mortimer Menpes about the decoration of Menpes’s house in Fulham, which formed the subject of Whistler’s essay ‘The Ideas of Mr Blankety Blank on Household Decoration’, published in the Pall Mall Gazette, 1 December 1888 and reprinted in the second edition of The Gentle Art of Making Enemies, 1892, pp. 230-5 (see the Glasgow University online Correspondence of James McNeill Whistler, Nos. 09225 and 09314).

135 WHISTLER (REX) Architectural caprice, executed in pen and brown ink as the heading of a letter from Rome, showing an elaborate fantastical baroque gateway captioned: “Here is a drawing for the entrance gate of your new house which we wrote about when you ere in Germany! To be built of ‘Wembley Exhibition’ materials for oeconomy, to have small shrubs & creepers planted about it (in especially prepared little pockets of earth!) to give the appearance of Antiquity. Do you approve?”; the letter itself describing Rome and giving news of friends (“...I think perhaps the things I love most about these Palazzi are their wonderful staircases. They have huge flat steps with only the slightest rise from one to the next, so that one is hardly aware of going up stairs at all. And there’s no looking over the banisters, for they stretch (the stairs) room wall to wall in width, & look like great long rising halls...”), 2 pages, with some thin spots to the paper showing through, and one or two small tape- stains, 4to (250 x 200mm.), Rome, “Tuesday night”, 8 May no year [1928] £600 - 800 €700 - 930

A FINE ARCHITECTURAL CAPRICE BY THE TWENTY-TWO YEAR-OLD WHISTLER: he had come to public notice the previous year with his Tate Restaurant murals and in 1928 took up a scholarship to the British School of Rome, from where our letter is written.

114 | Bonhams 135

Modern Literature, Children’s, Illustrated and Private Press

136 • ADAMS (RICHARD) Watership Down, FIRST EDITION, AUTHOR’S PRESENTATION COPY, inscribed on title-page “To Patsy, with love, Richard Adams November 1974”, folding map printed in colours, publisher’s brown cloth gilt, dust-jacket (unclipped), 8vo, Rex Collings, 1972 £1,000 - 1,500 €1,200 - 1,700

Books, Maps, Manuscripts & Historical Photography | 115 137

137 • ADAMS (RICHARD) Watership Down, FIRST EDITION, AUTHOR’S PRESENTATION COPY, inscribed “To Reg. Sones with gratitude and warm feelings Richard Adams, November 1972” on the front free endpaper, folding map printed in colours, publisher’s cloth, dust-jacket (unclipped), Rex Collings, 1972; Watership Down, UNCORRECTED PROOF COPY, with extensive ink annotations throughout, marked on upper cover “R.D. Sones’ copy”, publisher’s printed wrappers, [1972]; Shardik, FIRST EDITION, AUTHOR’S PRESENTATION COPY, inscribed “To Reg. Sones with gratitude Richard Adams, November 1974” on the title, short tear to dust-jacket (unclipped), Allen Lane, 1974; The Plague Dogs, FIRST EDITION, AUTHOR’S PRESENTATION COPY, inscribed “To Reg. with friendship and gratitude, Richard” on the front free endpaper, dust-jacket, Allen Lane, 1977; The Girl in a Swing, “Charnwood Large Type” edition, AUTHOR’S PRESENTATION COPY, inscribed “To Reg. with sincere friendship Richard” on title, and additonal author’s signature on half-title, publisher’s pictorial boards, Leicester, Charnwood, 1982, 8vo; together with 3 autograph letters, one typed letter, a postcard (together 8 pages, all signed and mentioning his books), and 2 photographs of Adams, one of him amongst a group of chess players which also includes Reg Sones (small collection) £2,000 - 4,000 €2,300 - 4,600

A FINE PRESENTATION COPY OF ‘WATERSHIP DOWN’ TO ONE OF ITS EDITORS, TOGETHER WITH AN EARLY UNCORRECTED PROOF.

Reg Sones, to whom the books are inscribed, was a close friend of the author. They worked in the Civil Service together, playing chess together in their lunchbreaks. In the “Acknowledgements” of both Watership Down and Shardik he is thanked as a friend “who read the book before publication and made valuable suggestions”. The early proof “uncorrected and not for publication” has extensive corrections in ink, many grammatical and spelling issues, but some more significant. For example on page 348 the line “his mother’s blood had prejudiced the Council against him” has been struck through and marked “??” in the proof, and in the published version the line has been altered to “Queen Dripslobber her very self has expressed her gracious wish that you should meet her”. The accompanying letters discuss chess but also the books: in 1976 “Plague Dogs is all but finished and I hope to get a first draft to you by early June. It is an odd book, half anthropomorphic fantasy and half social satire... I hope the chess team did well!”; in 1979 he writes “I don’t really think an awful lot of the film “Watering Down” do you? But it’s raking in the dough... I don’t play in the Chess Club [on the Isle of Man], though. Too busy writing...”, and in 1983, after a lengthy description of a computerised chess game, he mentions that he had begun The Girl in the Swing after seeing “Oh” Calcutta”, by which “I was absolutely disgusted - it was so ugly”, and thought he would write his own “Explicit”.

Provenance: Reginald Sones; by descent to the present owner.

116 | Bonhams 139

138 ART AND LITERATURE Series of letters by J.M. Barrie, George Moore, George Meredith, Henry Tonks and others, comprising four by Barrie to E.H. Coles (including a letter of condolence on the death of his wife May, another on the death of the third of the Grenfell boys); one by George Moore thanking Peter Harrison for a book (“...What a contrast this great tale of human life with the artificial ponds of English narrative...”); one by George Meredith, returning a list of queries about his poems (“...I saw at a cursory reading when the volume came from the printer that there were errors, but, as my poems were little noticed, I laid them aside...”), together with the list in question, which has been marked up by Meredith; a group of letters by and to Henry Tonks and Peter Harrison (discussing painting, religion, T.S. Eliot and kindred subjects) and by Tonks to Coles, discussing a wartime drawing to illustrate a MacColl poem, 1917 £600 - 800 €700 - 930

J.M. BARRIE WRITES ABOUT THE ‘LOST BOYS’ AND THE DEATH OF THEIR AUNT, THE WOMAN WHO WAS NEAREST TO THEM. His condolence letter to Coles, dated from Stanway on 6 August 1925, laments the loss of Coles’s wife May, who was the daughter of George du Maurier and thus sister to both Daphne Du Maurier and Sylvia Llewelyn Davies, mother of the ‘Lost Boys’ of Peter Pan fame, whom Barrie had adopted. He dwells on the Coles’ “happy home” of twenty-three years and tells Coles he was “a splendid husband”. The letter goes on: “I feel too that the boys have lost in May the woman who was nearest to them and would always have done the most for them, the only person I had to consult about them”. Barrie spent much time at Stanway, from where this letter is written. He presented the village with a thatched cricket pavilion, and it is said that the sight of the reflection of the windblown church weathercock moving on the ceiling of his bedroom at the main house gave him the idea of Tinkerbell the fairy.

139 BAKST (LÉON) L’oeuvre... pour la belle au bois dormant. Ballet en cinq actes d’après le conte de Perrault. Musique de Tchaikovsky, NUMBER 317 OF 500 COPIES, SIGNED BY BAKST AND THE PUBLISHER, preface by André Levinson, half-title, colour illustration on title, portrait of Bakst after Picasso, 54 mounted colour plates, publisher’s stiff wrappers, soiled, spine creased with minor loss at extremities, folio, Paris, De Brunoff, 1922 £800 - 1,200 €930 - 1,400

Books, Maps, Manuscripts & Historical Photography | 117 141

140 • BARBEY D’AUREVILLY (JULES) Les diaboliques, FIRST EDITION, ownership inscription of Count Van Bellingny? on half-title, contemporary red half morocco, 8vo, Paris, E. Dentu, 1874 £700 - 900 €810 - 1,000

“Ouvrage fort rare et très recherché, l’édition ayant été en partie détruite à la suite d’un procès” (Carteret, I, 112).

141 • CHAGALL (MARC) Chagall. Lithographe, 6 vol., 24 ORIGINAL LITHOGRAPHS BY CHAGALL (most printed in colours), volume 3 English text edition, others French text, 2 leaves of text in volume one working loose, publisher’s cloth, pictorial dust-jackets by Chagall (volume one an original lithograph, frayed with some loss at extremities of spine), 4to, Monte Carlo, André Sauret, 1960-1986 £1,000 - 2,000 €1,200 - 2,300

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142 • CHRISTIE (AGATHA) The Mysterious Affair at Styles, Cheap Edition, 1926; The Secret Adversary, Cheap Edition, 1927; The Murder on the Links, Cheap Edition, 1928; Poirot Investigates, Cheap Edition, 1925; The Man in the Brown Suit, Popular Edition, 1926; The Secret of Chimneys, Popular Edition, 1927, Bodley Head; The Seven Dials Mystery, seventh impression, W. Collins, 1933, the first three with ‘Detection Club’ bookplates,publisher’s cloth, dust- jackets (some rubbing and fraying, a few chips, principally to the last), 8vo (7) £4,000 - 6,000 €4,600 - 7,000

EARLY EDITIONS OF AGATHA CHRISTIE’S FIRST SIX BOOKS WITH SCARCE DUST-JACKETS. In addition to the 1920s Bodley Head editions of these first six books, the lot contains a 1933 edition of her tenth: all are with with dust-jackets priced ‘3/6 net’. The first three books bear the bookplate of the Detection Club, which was set up in 1930 by a group of British mystery writers, including Agatha Christie herself, Dorothy L. Sayers, Baroness Orczy and R. Austin Freeman. Its first president was G.K. Chesterton and members had to swear an oath, agreeing to follow a code of ethics and to adhere to certain plot rules.

143 CHURCHILL (WINSTON) Photograph signed (“Winston S. Churchill”), below the image, showing him half length, wearing a homburg hat; the photograph with accreditation of Reuters, some ink retouching, small tears in margin (one affecting signature), overall 202 x 53 mm., 1948 £400 - 600 €460 - 700

Accompanying the photograph is a letter signed by Spencer Loch, to Mrs M. Coxhead: “I return herewith your photograph duly signed by Mr Churchill”. During 1947-8 Spencer Loch was a member of Churchill’s secretariat at the Conservative Central Office, standing unsuccessfully for parliament in 1950.

Books, Maps, Manuscripts & Historical Photography | 119 144 • CHURCHILL (WINSTON) The World Crisis, 5 vol. in 6, FIRST EDITIONS, third impression of volume 3, INSCRIBED BY THE AUTHOR TO NELLIE HOZIER (“Nellie/ With love/ from/ Winston S.C”), volume one a review copy, stamped on half-title and with publisher’s advance review slip loosely inserted, plates and maps, bookplate OF Annie Geraldine Tennant in volume 2, publisher’s dark blue cloth, some offsetting to endpapers, occasional foxing, 8vo, Thornton Butterworth, 1923-1931 £1,000 - 1,500 €1,200 - 1,700

PRESENTATION COPY TO NELLIE HOZIER, CLEMENTINE CHURCHILL’S SISTER. Margaret Nelly Hozier (1888- 1955) served as a nurse during the First World War, when she was captured by the Germans but quickly released. She later married the distinguished soldier and governor of Palestine Colonel Bertram Romilly, and was the mother of the socialist and anti-fascist Esmond Romilly, who married Jessica Mitford.

Another set of The World Crisis, inscribed to Nellie Hozier and with Churchill’s autograph corrections, was sold at Christie’s on 10 March 1982. The present set also contains a review copy of the first volume, with Thornton Butterworth’s slip giving the publication date as April 10th and with the words “No review should appear prior to this date” underlined in red.

145 • COBDEN-SANDERSON (T.J.) [BINDING] WORDSWORTH (WILLIAM) Poems... Chosen and Edited by Matthew Arnold, ONE OF 750 LARGE PAPER COPIES, etched frontispiece portrait vignette on title, contemporary olive-green morocco gilt by T.J. Cobden-Sanderson (signed “18 C-S 87” inside lower cover), covers with border of single rule and dots, wide inner border to a pattern of open flower buds, corners with pointille design, central panel with groups of small circles, upper cover lettered “Wordsworth. 1879”, spine with open flower buds and dots, inner dentelles with repeated foliate and pointille design, g.e., marbled endpapers, spine slightly faded, preserved in purpose-made morocco-backed case [Marianne Tidcombe, The Bookbindings of T.J. Cobden-Sanderson 58; The Journals of Thomas James Cobden-Sanderson 1879-1922, vol. 1, pp.254, 395], 8vo, Macmillan, 1879 £2,000 - 3,000 €2,300 - 3,500

A rare example of a binding designed and executed by T.J. Cobden-Sanderson, using an open flower bud tool which he only used on this binding. He noted in his journals “Have just varnished the Wordsworth - am not altogether pleased with it, the leather shows defects”, but the first known owner Bain “thought it beautiful” (Tidcombe). It is Cobden-Sanderson Design no. 45, bound at Goodyers, February 8th, 1887. Cost £12.12s.

Provenance: Bain, a bookseller, who described it as “Simply perfect”; Mrs. Hollins, and by descent to the present owner.

146 • DISNEY (WALT) “Sketch Book”, FIRST EDITION, SIGNED “Walt Disney [19]38” on the opening full-page illustration of the seven dwarves, 12 tipped-in colour plates, illustrations and pictorial endpapers, publisher’s cloth, colour-printed pictorial dust-jacket (unclipped, a red serrated label pasted over price, a few short marginal tears, mostly to lower cover, one small ink stain on lower cover), 4to, Collins, [1938] £1,000 - 2,000 €1,200 - 2,300

This copy is signed by Walt Disney (or possibly his studio) with a bold signature dated 1938 on the first illustrated leaf, and has the number ‘5’ in blue pencil on the upper inside flap of the dust-jacket.

120 | Bonhams 145 146

147 DISRAELI (BENJAMIN) Four autograph letters signed (“D”), to the Earl of Lonsdale, telling him of Earl Russell’s resignation in front of Gladstone and the Queen, arranging meetings and enquiring after his health; with four autograph franked envelopes, 10 pages, one on mourning paper, engraved headings, 8vo, Carlton Club, 11 Downing Street and Grosvenor Gate, 28 February 1866, 28 January and 7 March 1867 and 9 November 1868 £600 - 800 €700 - 930

DISRAELI SPREADS A FALSE RUMOUR ABOUT LORD RUSSELL, GLADSTONE AND THE QUEEN. In his letter of 28 February 1868, Disraeli gleefully tells Lonsdale “Lord Russell resigned the day Col: Phipps died. He was with the Queen, when the telegram of the decease arrived. The Queen gave it to Lord Russell, & said ‘I can attend to no business now; this matter must be postponed.’ Lord Russell had only one cabinet minister with him in the final decision – that was Gladstone” (Phipps, unofficial private secretary to the Queen, had died on 24 February).

The story is not in fact true. Its origins and veracity have been examined by Maurice Cowling, who reveals that, on 24 February, the Queen wrote in her diary: ‘Whilst I was dressing got the fatal telegram from Dr Jenner saying that dear Sir Charles had died at half p. 5 this morning’. Neither Russell nor Gladstone were of course then present. Nor, it seems, did she see Russell that day, spending part of it instead with Lady Phipps. The same rumour was reported in the Times on the 28th, and might have originated in something the Prince of Wales said to Delane of the Times, or in a facetious remark made by Russell after a Cabinet meeting. There is, by contrast, no evidence that Russell offered his resignation at any time between October 1865 or June 1866. See Cowling’s 1867: Disraeli, Gladstone and Revolution: The Passing of the Second Reform Bill, 1967, p. 97, fn. 3.

Rumour mongering apart, these letters span a dramatic period of Disraeli’s life and of the nation, running from the last months of the Whig government of Russell and Gladstone to the passing of the Reform Bill and Disraeli’s first premiership: the first letter, containing the false rumour, being written in opposition, the second two as Chancellor of the Exchequer and the last as Prime Minister.

The recipient, William Lowther, second Earl of Lonsdale, had held office under Spencer Perceval, Wellington and Derby, but it was principally his great wealth that gave him influence in the party: ‘He was the distant original of Lord Eskdale in Disraeli’s Tancred, “a man with every ability, except the ability to make his powers useful to mankind”’ (Thomas Seccombe, DNB).

Books, Maps, Manuscripts & Historical Photography | 121 148

148 DODGSON (CHARLES LUTWIDGE, ‘Lewis Carroll’ Autograph visiting card: “Rev. C.L. Dodgson./ Ch. Ch. Oxford.”, 1 page, on card, written in Dodgson’s characteristic purple ink, small mounting-tags, oblong 32mo (36 x 75 mm.), [?Eastbourne, August 1884] £300 - 500 €350 - 580

No doubt given to Dodgson’s neighbour Mrs Hobson of 3 Lushington Road, mother of Hettie and Nellie (see lots 149 and 150).

149 DODGSON (CHARLES LUTWIDGE, ‘Lewis Carroll’) Autograph letter signed and subscribed “Your affectionate/ old blue stone”, to a child friend, Hettie [Hobson]: “Thanks for your nice little note. But I do so hate saying ‘good-bye’ I wasn’t very sorry to miss doing it”; and sending his love Nellie (Her sister), 1 page, on mourning paper, slight browning, written in Dodgson’s characteristic purple ink, on mourning paper, integral blank, slight browning etc., 8vo Christ Church, Oxford, 9 November 1884 £600 - 800 €700 - 930

Dodgson famously used to write in his diary against particularly important days – such as that when he first met Alice – ‘I will mark this day with a white stone’. We have however found no reference to the blue variety; no doubt the reference is to some game he had played that August at Eastbourne with the Hobson girls.

150 DODGSON (CHARLES LUTWIDGE, ‘Lewis Carroll’) Autograph letter signed (“C.L. Dodgson”), to his Eastbourne neighbour Mrs Hobson (“Dear Madam”), hoping she will pardon the liberty he took that afternoon “in conversing with your little girls” and asking if he could be allowed to continue the acquaintance, as being such near neighbours they are bound to meet again; and explaining that although he is an old bachelor, he has always enjoyed the society of children; with autograph envelope addressed to her at 3 Lushington Road, Eastbourne, 2 pages, written in Dodgson’s characteristic purple ink, plus integral blank, envelope stamped and postmarked, very light dust-staining, 8vo, 7 Lushington Road, Eastbourne, “Saturday” (postmarked 16 August 1884) £1,000 - 1,500 €1,200 - 1,700

151 • DODGSON (CHARLES LUTWIDGE) ‘Lewis Carroll’ Alice’s Adventures in Wonderland, eighty-sixth thousand [ninth edition, first issue], [Williams, Madan, Green and Crutch 46g]; Through the Looking-Glass and What Alice Found There, sixty-first thousand [fourth edition, first issue], [Williams, Madan, Green and Crutch 84c], AUTHOR’S PRESENTATION COPIES, inscribed on each half-title “Dorothy Jessica Bowles, from the Author. Oct. 26, 1897”, wood-engraved illustrations by John Tenniel, later ownership signatures of Penelope Bailey, modern red crushed morocco gilt by Asprey, covers with central medallion portraits in imitation of original bindings, raised spine bands, g.e., slipcase, 8vo, Macmillan, 1897 (2) £2,000 - 3,000 €2,300 - 3,500

Inscribed to Dorothy Jessica Bowles (1888-1971), daughter of Dodgson’s friend, Thomas (‘Tommmy’) Gibson Bowles, founder of Vanity Fair and The Lady’, and grandfather of the Mitford sisters. Penelope Bailey is presumably the daughter of Dorothy Bowles, who married Col. Percy Bailey.

122 | Bonhams 151

149 150

Books, Maps, Manuscripts & Historical Photography | 123 152

153 124 | Bonhams 152 EINSTEIN (ALBERT) Typed letter signed (“A. Einstein”), in German, to Methuen & Co., Ltd., London, asking them, with reference to their letter of 30 December, to make out cheques so that Professor Ehrenfest can cash them; publisher’s receipt stamp for 10 January, 1 page, 4to, Berlin, 6 January 1921 £1,000 - 1,500 €1,200 - 1,700

EINSTEIN PUBLISHES ‘RELATIVITY: THE SPECIAL AND GENERAL THEORY’, in our letter requesting that royalty cheques [for the American edition] be made out to his friend and fellow physicist Paul Ehrenfest.

Relativity: The Special and General Theory (1920) was a translation by Robert W. Lawson of Einstein’s Über die spezielle und die allgemeine Relativitätstheorie of 1917; the particular importance of the English edition being that Einstein contributed an extra chapter, ‘The Experimental Confirmation of the General Theory of Relativity’. The American edition came out in 1921. Paul Ehrenfest, the Austro-Dutch physicist and author of the eponymous theorem, was particularly close to Einstein at this time. It was at his prompting that Einstein accepted a professorial post at the University of Leyden, where Ehrenfest lived and taught and where Einstein stayed each year (and where, during a six week stay in 1923, they were to be joined by Niels Bohr and engageD in a debate on quantum theory).

Methuen’s had written to Einstein on 30 December 1920 (Letter 42 194), asking whether Einstein’s letter of 22 December meant that the royalty cheque for the American publication of Relativity: The Special and General Theory should be made payable to Ehrenfest. On the reverse is the draft of our letter (42 195), in Ilse Einstein’s hand, stating that the cheque should be made out in such a way that Ehrenfest can cash it (The Collected Papers of Albert Einstein, Volume 10, Princeton, 2006). Methuen’s had sent Ehrenfest a cheque for 819 guilders that November but, being made out to Einstein, Ehrenfest was unable to cash it.

Although Methuen’s are perhaps best known today for publishing the likes of Winnie-the-Pooh, Einstein’s exposition of his Special and General Theory accords equally well with the aims of its founder. The company had been set up in 1889 by Algernon Methuen in order to sell the textbooks he wrote as a schoolmaster. He soon diversified and scored his first major success with Kipling’s Barrack Room Ballads, and became a leading publisher of children’s literature as well as taking a principled stand by issuing titles such as Wilde’s De Profundis and Lawrence’s Rainbow. Methuen however was badly shaken by the storm of criticism that greeted the latter in 1915: ‘After the Lawrence débâcle, which caused considerable damage to the business, Methuen drastically reduced the fiction titles and played safe. They shied away from modernism and the serious fiction list was dominated by Arnold Bennett. By 1920 the company was reliant on westerns, the Tarzan books, and the Fu Manchu thrillers. Science also proved lucrative and Methuen secured the most significant title of all: Einstein’s Relativity: the Special and the General Theory (1920)’ (Clare L. Taylor, ODNB).

153 • ELIOT (T.S.) Four Quartets, first English edition, SIGNED BY THE AUTHOR on the title-page (striking through his printed name), bookplate of Philip O’Riordan Smiley, publisher’s cloth, dust-jacket (some browning, a few tears, slight loss to spine), 8vo, Faber and Faber, 1944 £1,000 - 1,500 €1,200 - 1,700

Books, Maps, Manuscripts & Historical Photography | 125 154 ELIOT (T.S.) Correspondence with his publisher Methuen & Co, arranging for publication of The Sacred Wood: Essays on Poetry and Criticism in America, comprising two typed letters signed (“T.S. Eliot”) by Eliot to Methuen’s, and retained carbons of four typed letters by Methuen’s to Eliot; the correspondence opening on 25 September with Methuen’s informing Eliot that they have sent a set of proofs of The Sacred Wood to Knopf in America, quoting terms for supply of sheets and asking whether, if Knopf preferred to set up the book himself and pay out royalties, Eliot would agree, on the understanding that Methuen’s would pay him two-thirds of royalties received; Eliot replies on 7 October, raising questions about the rate of profit and adds: “I should have preferred to have made a somewhat different choice of material for the American public, which I know something about; but this would involve witholding [sic] the American edition for certainly some months, which you would probably consider a disadvantage. I should be interested to hear when you expect to be able to bring out the book in this country”; Methuen’s reply on 8 October, setting out the details of their proposal, and giving a publication date: “We hope to publish ‘The Sacred Wood’ on the 4th of November. We shall send you some copies a few days before publication”; Eliot replies on 10 October, agreeing with their suggestion that Knopf print the book themselves rather than using Methuen’s unbound sheets (“...When Messrs. Knopf brought out my poems, this spring, they had the copyright registered in my name: I believe this is usual in America. I suppose in either case the contract would be solely between Messrs. Knopf and yourselves, and that my interests would be covered by the contract which I have with you...”); Methuen’s reply on the next day, saying they will now write to Knopf, and on 29 October they write Eliot a further letter, stating that, as a result of their correspondence, Knopf has purchased 350 copies of the book, the correspondence pinned together as a file, the Eliot letters 2 pages, 4to, the replies on sometimes irregular flimsy carbon sheets, 4to, Crawford Mansions, 8 and 10 October 1920 £2,000 - 3,000 €2,300 - 3,500

‘WE HOPE TO PUBLISH “THE SACRED WOOD” ON THE 4TH OF NOVEMBER” – T.S. Eliot launches his first book of criticism in the United States, with the caveat: “I should have preferred to have made a somewhat different choice of material for the American public, which I know something about”.

This seemingly hitherto unknown correspondence demonstrates Eliot’s aptitude for the business of publishing, which he was famously to put to use upon joining Faber’s five years later. It also affords us a glimpse of him two years before The Waste Land, carefully launching his career as a published author, a strategy that has been described by Ronald Bush: ‘More accomplished than Pound in the manners of the drawing-room, Eliot gained a reputation as an observer who could shrewdly judge both accepted and experimental art from a platform of apparently enormous learning. It did not hurt that he calculated his interventions carefully, publishing only what was of first quality and creating around himself an aura of mystery. In 1920 he collected a second slim volume of verse (Poems) and a volume of criticism (The Sacred Wood). Both displayed a winning combination of erudition and bravura, and both built upon the understated discipline of a decade of philosophical seriousness. The success of Eliot’s essays in The Sacred Wood and afterwards helped to change the critical sensibilities of Britain and America. Shifting the focus of criticism from the author to the work and altering the centre of gravity of previous English writing from the Romantics to the Elizabethan dramatists and the metaphysical poets, Eliot reshaped the study of literature in and out of the academy’ (ODNB).

Methuen – as per this correspondence – brought out The Sacred Wood in November, and Knopf the American edition in February. In the event, as the last letter from Methuen’s to Eliot indicates, Knopf put out a small edition of 365 copies from the English sheets with cancel half-title and title (Gallup A5b); following it that same year by the American printing as agreed to here. This correspondence is not printed in The Letters of T.S. Eliot, Volume 1: 1898-1922, revised edition, edited by Valerie Eliot and Hugh Haughton (2009).

155 FREUD (SIGMUND) Autograph postcard signed (“freud”), in German, to Henry A. Murray, thanking him for his book which has safely arrived; with autograph address on verso (“Henry A. Murray M.D./ Cambridge Mass./ U.S.A.”), stamped and postmarked at Hampstead, 1 page, browned where framed, adhesive tap stains on verso, 8vo, London, 4 November 1938 £400 - 600 €460 - 700

FREUD TO HENRY A. MURRAY, thanking him for a book, probably the great Harvard psychologist’s classic study Explorations in Personality, which was published by the Oxford University Press that year (and described by the press on its reissue in 2007 as ‘one of the great classics in 20th century psychology’). The book has several dedicatees, including Freud ‘whose genius contributed the most fruitful working hypotheses’. Murray’s papers are now at the Harvard University Library.

126 | Bonhams 154 157

156 GISSING’S BIRTHPLACE Two deeds, signed by Gissing’s father, Thomas Waller Gissing, and the land agent William Wordsworth, the first a mortgage on T.W. Gissing’s property in Westgate and Thompson’s Yard, Wakefield, whereby Wordsworth lends him £1750 at 5% interest per year, 11 January 1866; the second a further mortgage on the same property, by which Wordsworth lends Gissing £1000 at 5%, with T.W. Gissing, Fred Thompson and R.B. Mackie being named as joint sureties, on vellum, duty-stamps, seals, etc, 11 January and 29 March 1866 £300 - 400 €350 - 460

DEEDS FOR GISSING’S BIRTHPLACE: George Gissing was born at 55 (now 60) Westgate, Wakefield, and lived there and at the adjoining 2 & 4 Thompson’s Yard for the first thirteen years of his life. The property had been acquired by George’s father, a pharmacist, in 1856 on his move to Wakefield, a year before George’s birth. The family moved out after his father’s death in 1870. Thompson’s Yard is now the Gissing Centre, opened in association with the Gissing Trust in 1990. These two deeds are cited in the report prepared by Clifford Brook on 23 February 1977, when the fate of George Gissing’s birthplace was still uncertain (The Gissing Newsletter, vol.xiii, no.2, April 1977, pp. 15-16).

157 • GLADKY (SERGE) Nouvelle composition décoratives. 2me série, 48 colour pochoir plates, loose as issued in publisher’s cloth- backed printed boards, worn at extremities of spine, lacks one tie, folio, Paris, Charles Moreau, [1928] £800 - 1,200 €930 - 1,400

A fine series of Art Nouveau colour pochoir “animal” designs.

158 • GRAHAME (KENNETH) The Wind in the Willows, NUMBER 17 OF 200 COPIES, SIGNED BY THE AUTHOR AND ILLUSTRATOR, printed on hand-made paper, half-title, illustrations by E.H. Shepard, pencil ownership inscription inside upper cover, publisher’s cloth-backed boards, printed label on spine (with spare label tipped-in at end), dust-jacket (price- clipped, slightly soiled with small loss at lower extremity of spine), 4to, Methuen, 1931 £2,000 - 4,000 €2,300 - 4,600

The first illustrated edition, limited to 200 copies, signed by both the author and the illustrator E.H. Shepard.

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159 AR GREAT TRAIN ROBBERY Original cartoon by ‘Jak’ (Raymond Allen Jackson), drawn for publication in the Evening Standard, showing the Great Train Robbers holed up, surrounded by piles of banknotes, two sitting on mail bags, with a toy train set at their feet, one holding a newspaper bearing the headline ‘£3,000,000 Train Robbery’; while another observes: “A life of crime – sometimes I ask myself, is it all worth it?” (captioned thus), black mapping ink with touches of white body-colour and pale blue wash, drawn on A2 artists board, captioned in pencil, docket and ink-blobs on the reverse, some bumping at corners and a few light stains and other minor signs of wear, but still in good and attractive condition, 500 x 650 mm., 10 August 1963 £800 - 1,200 €930 - 1,400

‘A LIFE OF CRIME – SOMETIMES I ASK MYSELF, IS IT WORTH IT?’. This wonderfully sardonic take on the Great Train Robbery was published in the Evening Standard on 10 August 1963, two days after it had taken place. Described soon after it happened as ‘the Crime of the Century’, the robbery has occupied a prominent place in the imagination of the public and the world’s media for the last fifty years; entering into British folklore. In common with the contemporaneous Profumo Scandal, it has also come to be seen as a mirror on the times (see Nick Russell-Pavier and Stewart Edwards, The Great Train Robbery, 2013). One of the notable features of the robbery is the fact that it was carried out unarmed; whereas in Jak’s cartoon – drawn while such details were either hazy or unknown to the public – the robbers carry pistols.

According to Mark Bryant, writing in the Oxford Dictionary of National Biography, Jak ‘roughed cartoons out in 2B pencil on A2 layout paper (usually six a day from which the editor chose one), and completed the drawing with a brush and mapping pen using Pelikan ink on board, tints being indicated with pale blue wash. Jak always drew hands with three fingers in the style of Disney animators and signed his name in capitals with ‘blob’ serifs’’ – an unusual feature of our cartoon being that it does not bear Jak’s signature; the printed version being similarly unsigned (see the clipping held the British Cartoon Archive, University of Kent; Item 04089). This cartoon dates from Jak’s early prime: he had joined the Evening Standard in 1952, working for a time as a general illustrator, and was to take over from Vicky as the paper’s political cartoonist in 1966; being voted political/ social cartoonist of the year in 1964 and 1965, and again in 1985, by the Cartoonists’ Club of Great Britain.

Sold in aid of St Luke’s Church, Sydney Street, Chelsea.

128 | Bonhams 160 161

160 • GREENE (GRAHAM) The Confidential Agent, first edition, very light spotting and browning, publisher’s blue cloth, spine lettered in red, DUST-JACKET (unclipped, one or two stain marks, top ends frayed with slight loss), 8vo, William Heinemann, 1939 £4,000 - 6,000 €4,600 - 7,000

A GOOD COPY IN THE RARE DUST-JACKET. Inspired by the Spanish Civil War, Greene wrote the novel in just six weeks whilst under the influence of benzedrene, having rented a room in Bloomsbury for the purpose.

161 • HAGGARD (H. RIDER) King Solomon’s Mines, FIRST EDITION, FIRST ISSUE, with misprints uncorrected and 16-page publisher’s catalogue dated 5G.10.85 and 5B.10.85 at end, half-title, folding chromolithographed frontispiece (2 tears without loss), bookplate of Edward J. Sidebotham, publisher’s red pictorial cloth, spine slightly faded and bumped, preserved in red morocco-backed solander box [Sadleir 1089; Wolff 2863], 8vo, Cassell & Company, 1885 £2,000 - 3,000 €2,300 - 3,500

A FINE COPY OF THE FIRST ISSUE OF RIDER HAGGARD’S CLASSIC ADVENTURE STORY. This is seemingly one of the first 500 copies bound up in August 1885, and has the uncorrected errors as follows: p.10, line 14 reads ‘Bamamgwato’, p.122, line 27 reads ‘to let twins to live’, and p.307, penultimate line reads ‘wrod’.

Books, Maps, Manuscripts & Historical Photography | 129 162 JAMES (HENRY) Autograph letter signed (“Henry James”), to Marie-Louise (May) Coles, née Du Maurier, a letter of heart-felt condolence written upon the death of her mother, Emma Du Maurier, opening: “My dear dear May,/ I think of you tonight, after all you must have been through today, with a tenderness of friendship that no words can express. One’s soul goes out to such sorrows as yours, & then the sense, the experience, of how, by the hard law of life, we have at the best to bear them alone, intimately & in a manner exquisitely alone, throws one back on a helplessness as great as one’s pity”; going on describe the loss of his own mother: “I lost my own dear Mother long years ago, yet even at my age the pang still lives & the wound still bleeds, & I wouldn’t for the world have it otherwise. You will know as time goes on what I mean by this, & what it will mean for yourself not to lose or let grow dim the sore intensity of these days” and reminding her of the depth of his friendship with her mother (“...Her goodness to me was a thing I intensely felt, & I almost dare to say that no one save your brother can remember her with you better than I -- & who indeed further back?....”), and assuring her: “I hold fast with you to all the delightful beautiful old swept-away past”; subscribing himself “your most thoroughly understanding & participating & loving old friend”; with autograph envelope, 2 pages, engraved letter head, 4to, Carlyle Mansions, 8 January 1915 £1,000 - 1,500 €1,200 - 1,700

‘WE HAVE AT THE BEST TO BEAR THEM ALONE, INTIMATELY & IN A MANNER EXQUISITELY ALONE’: Henry James, writing in the early months of the Great War and near the end of his life, contemplates love, death, friendship and the past; his meditation occasioned by the death of the widow of one of his closest and oldest of friends, George De Maurier. James’s own health was to decline that spring and he was to suffer the first of his strokes – ‘so it has come at last – the Distinguished Thing’ – on 2 December, dying the following February.

James had first met the Du Mauriers at a dinner in May 1877, describing George at the time as ‘a delightful little fellow, with a tall handsome wife like his picture-women’ (to Henry, Sr. and Alice, 20 May 1878). The close friendship between the two was replete with ironies which have been explored by both biographers and fictional accounts, such as David Lodge’s Author, Author (most noticeably in the fate of Trilby, the plot of which Du Maurier had offered James but which James turned down, and which was to bring Du Maurier the commercial success that had always eluded James, although accompanied by a level of fame that overwhelmed and exhausted him).

This fine letter is not listed in the University of Nebraska Press’s online Calendar of the Letters of Henry James, where 54 letters to members of the Du Maurier family are recorded, although none to May.

163 • JAMES (HENRY) The Portrait of a Lady, 3 vol., FIRST EDITION IN BOOK FORM, half-titles, 24-page publisher’s catalogue (dated “October 1880”) at end of volume 3, light spotting, dark brown endpapers, bookplate of Oliver Brett in each volume, label “From the Library of Maria Theresa Earle... Surrey” in volume one, volumes 1 and 3 in publisher’s dark blue-green cloth, volume 2 in variant dark blue cloth, gilt spines skilfully refurbished at extremities [Edel and Laurence A16(a); The Modern Movement 1], 8vo, Macmillan, 1881 £4,000 - 6,000 €4,600 - 7,000

ONE OF 750 COPIES OF THE FIRST EDITION IN BOOK FORM, with minor revisions from the appearance as a serial publication in Macmillan’s Magazine (October 1880-November 1881). The book was issued in two variant colours of cloth, with no precedence between the two having been established. The present set has two volumes in blue-green, and volume 2 in dark blue. The publisher’s catalogue is dated October 1880, rather than December 1881. Edel and Laurence note that some copies lack the catalogue altogether, and others have the earlier issue catalogue “probably inserted through error or through shortage at the bindery of the more contemporary catalogue”.

Provenance: Maria Theresa Earle (1836-1925, horticulturist, a correspondent of James), with her Woodlands Library label; Oliver Brett, Third Viscount Esher (1881-1963), with his bookplate.

164 • JOHNS (W.E.) The Cruise of the Condor, first edition, colour frontispiece and 4 uncoloured plates, some light spotting, publisher’s blue cloth gilt, dust-jacket designed by Howard Leigh, unrestored and price-clipped, with red ‘5s’ label on spine over earlier ‘4s’ label, 2 short tears with creases to rear (without loss), 8vo, John Hamilton [1933] £1,000 - 1,500 €1,200 - 1,700

THE SECOND APPEARANCE OF BIGGLES AND THE FIRST FULL LENGTH BOOK TO FEATURE HIM: IN AN EXCEPTIONALLY RARE UNRESTORED DUST-JACKET. In this copy the original ‘3’6’ price has been clipped from the flap, and a ‘5s’ label has been placed over a ‘John Hamilton 4s’ label. The original cloth covers are in fine bright condition, with just slight bumping to the spine and fading at the very edge.

See illustration on page 132.

130 | Bonhams 162 163

168

Books, Maps, Manuscripts & Historical Photography | 131 164-167

165 • JOHNS (W.E.) “Biggles” of the Camel Squadron, colour frontispiece and 4 uncoloured plates, 35-page publisher’s catalogue at rear dated Autumn 1936, publisher’s blue cloth, gilt lettered, unrestored and unclipped dust-jacket (priced ‘3/6’), frayed with slight loss and creasing at extremities, 8vo, John Hamilton, [c.1936] £600 - 800 €700 - 930

THE THIRD BIGGLES BOOK: AN EARLY ISSUE WITH AN UNRESTORED DUST-JACKET. This collection of thirteen short stories, first published 2 years earlier, was the first book to have the name ‘Biggles’ in the title.

166 • JOHNS (W.E.) Biggles Flies Again, first edition, colour frontispiece and 4 uncoloured plates, publisher’s blue cloth, spine and edges faded, dust-jacket restored and price-clipped, 8vo, John Hamilton, [1934] £800 - 1,200 €930 - 1,400

FIRST EDITION OF THE FOURTH BIGGLES BOOK, IN A DUST-JACKET. This copy corresponds to the one in the Bodleian, with the list of “Ace” titles comprising five by Johns and nine by others.

167 • JOHNS (W.E.) The Black Peril. A “Biggles” Story, early issue, with no asterisk against ‘The Black Peril’ heading the list of 17 “Ace” titles, and no publisher’s catalogue, colour frontispiece and 4 uncoloured plates (one frayed and reinserted), ownership signature pasted to fly-leaf, publisher’s blue cloth, spine faded, professionally restored dust-jacket, 8vo, John Hamilton, [1936?] £800 - 1,200 €930 - 1,400

EARLY ISSUE OF THE FIFTH BIGGLES BOOK, IN A DUST-JACKET. This was the final Biggles book published by John Hamilton before W.E. Johns moved to the Oxford University Press.

168 • KELMSCOTT PRESS COLERIDGE (SAMUEL TAYLOR) Poems Chosen Out of the Works, LIMITED TO 300 COPIES, printed in red and black, title and opening leaf of text within wide woodcut borders, decorative initials and several 3-side borders, publisher’s limp vellum, ties (upper one with some loss, dust-soiled and slightly bowed) [Pederson A38], small 4to, Hammersmith, Kelmscott Press, 1896 £700 - 900 €810 - 1,000

See illustration on preceding page.

132 | Bonhams 169

169 • KELMSCOTT PRESS The Tale of Beowulf [Done Out of the Old English Tongue by William Morris & A.J. Wyatt], LIMITED TO 300 COPIES, PRESENTATION COPY, INSCRIBED BY A.J. WYATT (“Travers C. Wyatt, 24 February 1908. A.J.W.”) on front free endpaper, printed in red and black, woodcut title-page, facing page with full woodcut page-border, numerous three-quarter and smaller woodcut page-borders, large initials, “Note to Reader” loosely inserted, original limp vellum, green ties (one with small loss), slight staining [Peterson A32], Hammersmith, Kelmscott Press, 1895--WYATT (ALFRED J.) Index to Beowulf, MANUSCRIPT on paper, 23pp. on 20 sheets, WITH CORRECTIONS AND DELETIONS BY WILLIAM MORRIS, cloth, gilt lettered “Beowulf Index” on spine, [c.1894], 4to (2) £2,500 - 3,500 €2,900 - 4,100

For Morris Beowulf was “the first and the best poem of the English race”. His translation was based on a prose rendering by the Anglo-Saxon scholar Alfred J. Wyatt of Christ’s College, with whom he consulted over a two year period. On the opening leaf of the manuscript glossary and index to Beowulf Wyatt notes that it was “submitted to Wm Morris, in whose handwriting the corrections in the glossary are made. He also deleted the great majority of the words, on the ground that he should use them in his modern prose works, & hence a glossary was not needed”. The manuscript glossary is written on 9 pages, including a large majority of words deleted by Morris, and so not used in the published version (which listed only 88 words on less than 2 pages). Morris queries several of Wyatt’s definitions. For example next to “Undern” he writes “is’nt it afternoon”, besides “Wise” he notes “it ought to be wisse i think”, and he alters the definition of “Beswinked” to “Sweated” from Wyatt’s suggestion of “Harrassed, oppressed”. In the first two of these examples Wyatt answers Morris using red ink, and his original definitions are retained in the Kelmscott edition, but for the last Morris’s amendment is retained. Also bound in is the index to “Persons & Places”. On the opening leaf in distinctive blue pencil is recorded “Prepared for press by Wm. Morris”.

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170 • LANG (ANDREW) COMPLETE SET OF THE FAIRY BOOKS, 12 vol., all illustrated with plates, endpapers, and cover designs by H. J. Ford, G. P. Jacomb Hood and Lancelot Speed, publisher’s pictorial cloth gilt, g.e., some spines bumped, ‘Pink’ and ‘Lilac’ a little faded [Osborne Collection I, pp.34-36, and II, p.604], 8vo, Longmans & Co., 1889-1910 £2,000 - 4,000 €2,300 - 4,600

A FINE AND COMPLETE SET OF FIRST EDITIONS OF ANDREW LANG’S CLASSIC FAIRY STORIES. The set comprises Blue, Red, Green, Yellow, Pink, Grey, Violet, Crimson, Brown, Orange, Olive and Lilac. Lang had intended to finish the series after the Green Fairy Book (the third in the series), as he stated in the Preface, but in the fourth, the Yellow Fairy Book, he thanks all the children who urged him to continue the series.

134 | Bonhams 171

171 LAWRENCE OF ARABIA AT AKABA Photograph album belonging to an airman with No. 1 Squadron of the Australian Flying Corps, serving in the Palestine Campaign during the latter part of the Great War, comprising 24 photographs, the majority taken while stationed with his squadron in November and December 1917 at Gaza and Akaba (Aqaba), including a snapshot of “Major Lawrence, C.B./ Akaba. Dec. ‘17”; “My D.H.2 67/ Sq. ‘Drome 25/11/17. Just previous to 1st scrap”; and “Dead Sea/ ‘67 Squadron Martinsyde with Guy & Self in B.F. on Bomb Raid. 21/11/17”; other photographs of the album owner’s former “Vickers Bullet” (i.e. Vickers F.B.19) at Bela (“My old ‘bus”), a SE.5a and Bristol Monoplane (M.1C) of No. 111 Squadron at Belah, Bristol Scouts at Aboukir, etc., mounted in a small photograph album, minor foxing etc., but overall in good condition, average size of photographs 550 x 1000mm., grey cloth, oblong 8vo, Palestine, Hejaz and Egypt, late 1917 £1,000 - 1,500 €1,200 - 1,700

A PHOTOGRAPH OF LAWRENCE AT THE HEIGHT OF THE ARAB REVOLT, showing him standing full-length, dressed in Arab robes and wearing his famous gold Meccan dagger (acquired by him that July). This photograph – which we believe to be hitherto unknown and was presumably taken by the anonymous owner of the album – shows Lawrence at a turning point of his life, having established his reputation and that of the Arab Revolt with the capture of Akaba the previous June; while at the same time having escaped from Turkish torture and custody at Deraa only a few weeks earlier in late November (an episode of course subject to much dispute). He had been appointed Commander of the Bath for his secret reconnaissance expedition into northern Syria that summer. In early December he accompanied Allenby’s troops on their triumphal entry into Jerusalem, but was in Akaba in both early and late December (on the third, twenty-fifth and twenty-eighth); his movements being summarised in a letter to his family from Cairo on 14 December 1917: ‘Well here I am in Cairo again, for two nights, coming from Akaba via Jerusalem. I was in fortune, getting to Jerusalem just in time for the official entry of General Allenby... I wrote to you last from Azrak, about the time we blew up Jemal Pasha, and let him slip away from us. After that I stayed for ten days or so there, and then rode down to Akaba in 3 days: good going, tell Arnie: none of his old horses would do so much as my old camel. At Akaba I had a few days motoring, prospecting the hills and valleys for a way Eastward for our cars: and then came up to H.Q. to see the authorities and learn the news-to-be. Tomorrow I go off again to Akaba, for a run towards Jauf, if you know where that is”.

It is evident that the owner of the this album served with No. 67 Squadron of the Royal Flying Corps: this was, properly speaking, No. 1 Squadron AFC (Australian Flying Corps) but between March 1916 and February 1918 was renamed by the British authorities as No. 67 Squadron RFC, to avoid confusion with No. 1 Squadron RFC. It is the ancestor of No. 1 Squadron of the Royal Australian Air Force and was under the command of Major Richard Williams, ‘father’ of the RAAF. Other photographs show aircraft from No. 111 Squadron RFC, with which (on the evidence that he flew a Vickers F.B.19) the album’s owner may have also served. This squadron had been formed in Palestine in August 1917 and early in 1918 was to hand over some of its planes to the No. 1 Squadron.

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172 • LEROUX (GASTON) The Phantom of the Opera, first American edition, first printing by Braunworth & Co., frontispiece and 4 full-page illustrations by André Castaigne, publisher’s blindstamped cloth with title panel in white, preserved in pictorial cloth solander box with leather onlays, 8vo, New York and Indianapolis, Bobbs-Merrill, 1911 £400 - 600 €460 - 700

A REMARKABLY FINE COPY OF THE FIRST AMERICAN EDITION. Gaston Leroux’s Le Fantôme de l’Opéra was first published in serial form in Le Gaulois between 1909 and 1910. The British and American edtitions followed in 1911, the latter with Alexander Teixeira de Mattos the unaccredited translator.

The nature of the colour illustrations is innovative for the period: the frontispiece is a full-bleed, and the other four plates are portrait format illustrations, but rotated ninety degrees and printed double-page.

173 LEWIS (C.S.) Autograph letter signed (“C.S. Lewis”), to Father Dominic, thanking him for his kind words bout his own work: “I am surprised you should regard the Lord of the Rings as a work that ‘has not caught on’. It is its (well deserved) success that astonishes me. The sales have been enormous and I keep on finding the most unlikely people among its admirers”; adding: “I had thought the almost pathological anti-romanticism of our lives wd. have denied it a hearing. It just shows how little the fashionable critics indicate the actual taste of ordinary readers”, 1 page, 8vo, The Kilns, Headington Quarry, 4 August 1961 £2,000 - 4,000 €2,300 - 4,600

C.S. LEWIS CELEBRATES THE SUCCESS OF ‘THE LORD OF THE RINGS’, and derides the failure of “fashionable critics” to appreciate “the actual taste of ordinary readers”. Lewis and Tolkien were, of course, close friends, with Lewis spurring Tolkien on to complete The Lord of the Rings. Although The Lord of the Rings was a publishing success and received favourable and perceptive reviews from Lewis and from W. H. Auden, ‘many reviews were hostile, sometimes bitterly so, a critical response which has remained familiar’ (T.A. Shippey, ODNB; as Shippey has also remarked: ‘in 1975... professing an interest in Tolkien was almost certain death for any hopeful candidate seeking entrance to a department of English’, preface to the second edition of A Tolkien Compass, edited by Jared Lobdell, 1975 (2003), p. vii). A copy of Lewis’s Christian Behaviour is included in the lot.

136 | Bonhams 174 MANN (THOMAS) Autograph letter signed (“Thomas Mann”), to Dr Arthur Mandl of Sheffield, replying to his letter as to whether Doctor Faustus was to be his last novel, and responding to Mandl’s observation that the book contains many Anglicisms: “Der Anglizismen war ich mir nicht ganz unbewusst. Es fehlt an ihnen auch schon im späteren ‘Joseph’ nicht. Wenn die Sache es will, scheue ich auch vor Gallizismen nicht zurück. Ich habe nicht viel Respekt vor sprachlichen Landesgöttern und bin Monotheist insofern als ich glaube dass über den Sprachen die Sprache ist” [‘I was not altogether unaware of the Anglicisms. They already occur in the later ‘Josef’ novel. If the situation demands it, I also do not shy away from Gallicisms. I do not have much respect for local linguistic deities and am monotheist in so far as I believe that Language stands above languages’]; autograph envelope, 1551 San Remo Drive, Pacific Palisades, California, 17 May 1948 £2,000 - 4,000 €2,300 - 4,600

‘ONE CAN CALL FAUSTUS MY LAST BOOK, FOR WITH IT THE CIRCLE OF MY LIFE AND WORK IS COMPLETED: I LIKE TO CALL IT MY ‘PARSIFAL’ – Thomas Mann on Doctor Faustus, his use of language, and what in the way of chamber music might follow: “In gewissem Sinne freilich mag man den Faustus mein letztes Buch nennen, weil damit der Ring meines Lebens und Werkes sich schliesst: ich nenne ihn gern meinen ‘Parsifal’ und denke dabei an die Bemerkung Ernest Newmans, es sei doch schade, dass Wagner nach dem grossen Endwerk nicht noch ein bisschen Kammermusik geschrieben habe. Das mutete mich immer etwas komisch an, denn man kann sich Wagner als Komponisten eines Streichquartetts ja nicht recht vorstellen. Aber bei mir liegen die Dinge in dieser einen Beziehung günstigar, und es ist nicht unmöglich, dass ich nach meinem Parsifal, wenn auch keine grosse Oper mehr, so doch noch einige Kammermusik schreibe – unter uns gesagt, ich bin schon dabei” [‘Admittedly, in a certain sense one can call Faustus my last book, for with it the circle of my life and work is completed: I like to call it my ‘Parsifal’, and with that I think of Ernest Newman’s remark that it is a pity that Wagner had not composed a little chamber music after his great final work. That always strikes me as somewhat comical, for one cannot really imagine Wagner as composer of a string quartet. But in my case the situation is more favourable in this one respect, and it is not impossible that after my Parsifal, even a grand opera, I shall write some chamber music – between ourselves, I am already doing so’].

Mann made a note of writing this letter in his diary for that day: ‘Brief aus England über Faustus’. The discussion of language was to be echoed in a letter to Heinrich of 14 July 1949. A transcript of Mandl’s letter to Mann is included in the lot (together with notes and translations by members of the Mandl family, to whom we are indebted).

175 MONTGOMERY (BERNARD LAW) Printed message, signed at the head (“B.L. Montgomery/ General/ Eighth Army”), issued on the first anniversary of the Battle of Alamein, and issued as a personal message from the army commander to be read out to all troops, opening: ‘To-day, 23 October, 1943, is the first anniversary of the Battle o Alamein...”, framed with a contemporary photograph of Monty with a group of soldiers (including presumably the recipient) and a ticket for the 1975 Alamein Reunion at the Royal Festival Hall, 1 sheet, on manila paper, taped at edges, unexamined out of frame, 298 x 197mm., 1943 £400 - 600 €460 - 700

176 • NERUDA (PABLO) Residencia en la tierra, NUMBER 7 OF 100 COPIES, SIGNED BY THE AUTHOR on the colophon, half-title, tipped-in frontispiece depicting Tótila Albert, errata leaf loosely inserted, some spotting, publisher’s wrappers, upper cover detached, some loss to extremities of spine, folio, Santiago de Chile, Nascimento, 1933 £800 - 1,200 €930 - 1,400

Limited to 100 signed copies, this is the rare first edition of the work which marked Neruda’s emergence as an important international poet, written during his travels in the Far East and widely celebrated as containing “some of Neruda’s most extraordinary and powerful poetry” (Rene de Costa, The Poetry of Pablo Neruda, 1979).

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177 O’NEILL (EUGENE) Autograph letter signed (“Eugene O’Neill”), to Dr Murray, thanking him for taking the trouble to write about The Great God Brown: “I owe you a profound apology for not having answered your fine letter sooner – and even now, this cannot pretend to be a real answer. It’s only a few lines to tell you how deeply gratifying your letter as to me and how sincerely grateful I am to you for having been so moved by ‘Brown’ as to write it. It isn’t often an author gets such a penetratingly intelligent and at the same time emotional reaction to his work – so again, all thanks!”; and looking forward to having some time off in Bermuda: “I’m dog-tired and looking forward to a rest – which means writing – (the getting the stuff on the stage is the drudgery to me!)”; and to meeting him again on his return (“...”We’ll get together and have a real talk...”), 1 page, laid down, some time-staining, framed and glazed with a photographic portrait, 4to, Brook Farm, 21 February 1926 £800 - 1,200 €930 - 1,400

The Great God Brown opened at Greenwich Village on 23 January 1926. It is one of O’Neill’s most experimental works, especially in the way the mask is used as a main dramaturgical feature; so much so that three weeks after opening he released a letter to the press attempting to explain his aims (appearing in the New York Times, 14 February 1926, and elsewhere). So Murray’s letter must have been all the more timely.

138 | Bonhams 178

178 • ORWELL (GEORGE) A Clergyman’s Daughter, UNCORRECTED PROOF OF THE FIRST EDITION, publisher’s buff printed wrappers (‘A Clergyman’s Daughter/ by/ George Orwell/ Proof’), with the word ‘Uncorrected’ supplied in red crayon, in the original yellow DUST-JACKET, printed in black and pink, top edges frayed, spine browned and chipped with slight loss [cf. Fenwick A3a], 8vo, Victor Gollanz, 1935 £4,000 - 6,000 €4,600 - 7,000

A REMARKABLY GOOD UNCORRECTED PROOF OF ORWELL’S RARE SECOND NOVEL, IN AN EVEN RARER DUST-JACKET.

Despite positive reviews, A Clergyman’s Daughter was a largely experimental work which never satisfied Orwell: he allowed no further editions during his lifetime, left instructions for it never to be reprinted after his death, and variously described the work as “bollox” (to Henry Miller) and “tripe” (to Brenda Orwell). He had finished writing the novel in early October 1934 and sent the manuscript to his agent, Leonard Moore, shortly after, but publication by Gollanz was delayed until March due to various last-minute alterations for fear of libel, particularly over the depiction of private schooling. The original manuscript does not survive in order to make comparisons, but a comprehensive list of Orwell’s known alterations is supplied by Peter Davison in the 1986 Complete Works edition, and the book’s composition and publication are detailed by Fenwick.

The novel in any form is very scarce, ABPC recording just three copies of the book selling at auction since 1975. All three copies, including another uncorrected proof, were without jackets. Of the three copies of the first edition listed by Fenwick, only the Orwell archive copy has a dust-jacket, and this differs from ours in that it has some publisher’s advertisements on the rear.

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140 | Bonhams 180

179 • [POTTER (BEATRIX)] WEATHERLY (FREDERIC E.) A Happy Pair... Illustrated by H.B.P., FIRST AND ONLY EDITION OF THE FIRST BOOK ILLUSTRATED BY BEATRIX POTTER, 6 full-page chromolithographed illustrations by Potter, soiling and staining, title with lower portion rubbed away (obscuring words “by H.B.P.”), last leaf with small piece torn from blank upper corner, original chromolithographed stiff wrappers with 2 illustrations, stitched as issued but with renewed tied chord and new holes (these with tears where pulled), stained and ceased, trimmed at inner edges, outer corners cut [V & A 1765], square 12mo, 120 x 98mm., Hildesheimer & Faulkner, [1890] £6,000 - 8,000 €7,000 - 9,300

THE FIRST APPEARANCE IN PRINT OF BEATRIX POTTER’S CHARACTERISTIC ILLUSTRATIONS. Potter’s first efforts to have her illustrations published met with little success when she sent some Christmas card designs to Marcus Ward, who swiftly returned them to her. “Following a suggestion from her brother, she sent some of her rabbit drawings to Hildesheimer & Faulkner, a greetings-card publisher, who to her amazement and delight sent her a checque for £6 by return, with a request for more. The company then made cards from some of her drawings, and others they used as illustrations to a set verses by Frederic E. Weatherly in a booklet called A Happy Pair. At 24 Beatrix had begun her professional career” (Judy Taylor, The Artist and Her World, p.17). Potter continued to supply Hildesheimer & Faulkner, and subsequently Ernest Nister, with designs for greeting cards and annuals. She also sent sketches to other publishers; although Frederick Warne returned them as unsuitable, they did express an interest in her ideas and drawings, and thus began an association which would eventually lead to the publication of Peter Rabbit.

180 • POTTER (BEATRIX) The Tailor of Gloucester, FIRST PRIVATELY PRINTED EDITION, INSCRIBED BY THE AUTHOR “For Gloucester Infirmary Bazaar from Beatrix Potter” on front free endpaper, 16 colour plates (one loose), early ownership inscription of Helen A. Shannon, publisher’s pink boards, with printed illustration on upper cover, age-soiled with minor loss to extremities of spine [Linder 420; Quinby 3], 16mo, [London], December 1902 £2,500 - 3,500 €2,900 - 4,100

EVOCATIVELY INSCRIBED COPY OF BEATRIX POTTER’S SECOND BOOK, ONE OF 500 COPIES PRINTED, given by her to the Gloucester Infirmary Bazaar. In 1903 a Garden Bazaar and Fête was held to raise funds towards the the addition of a Nurses’ Home at the Infirmary. Of the story told in The Tailor of Gloucester Potter wrote in the preface that “I heard it in Gloucestershire, and that is is true - at least about the tailor...”.

Books, Maps, Manuscripts & Historical Photography | 141 181

181 * PROUST (MARCEL) Autograph letter signed (“Marcel Proust”), to “Madame” [Ester Oulman, née Bensaude], a letter of condolence on the death of her husband [Camille Oulman]: expressing his sadness at the death of ‘cet homme charmant et si bienveillant, si bon’, remarking that, although it is a long time since the days when they used to dine regularly together at his aunt’s and go the Opera, ‘la solitude rapproche le passé’, and it seems like yesterday; he regrets not being able to attend the funeral and pay his respects in person, on account of his poor health, 3 pages, in fine fresh condition, 8vo, 102 bd Haussmann, 7 March 1916 £1,500 - 2,000 €1,700 - 2,300

‘LA SOLITUDE RAPPROCHE LE PASSÉ’ – Proust looks back on the past from his apartment in the boulevard Haussmann. It had been the deceased’s sister, Amelie Oulman, who had married Proust’s maternal uncle Georges Weil, co-owner with Proust’s mother of the now famous apartment at 102 boulenard Haussmann where Proust installed his cork-lined room and wrote À la recherche. When Proust’s mother died, he and his brother inherited her half, and when Georges died, his widow Amelie inherited his half. Later all the shares were put up for auction and bought by the aunt, Proust missing the sale in favour of a lecture hosted by Montesquiou. This meant that when the aunt sold up in 1919 he had no option but to move.

142 | Bonhams 182 183

182 • RACKHAM (ARTHUR) BARRIE (J.M.) Peter Pan in Kensington Gardens (From ‘The Little White Bird’), first edition, 50 tipped-in colour plates by Arthur Rackham (all but frontispiece bound at end), some spotting, publisher’s pictorial russet cloth gilt, pale green printed DUST-JACKET with central vignette, priced ‘15s’ on spine, chipped with some loss (mainly at foot of spine, affecting publisher’s name), 4to, Hodder & Stoughton, 1906 £800 - 1,200 €930 - 1,400

183 • RACKHAM (ARTHUR) BARRIE (J.M.) Peter Pan in Kensington Gardens. From the Little White Bird, 50 tipped-in colour plates by Arthur Rackham, publisher’s pictorial dark green cloth gilt, DUST-JACKET with flap priced ‘25s’’ (unclipped, one or two small nicks and marks), large 4to, Hodder & Stoughton, [1912] £800 - 1,200 €930 - 1,400

The second and enlarged Rackham edition of Peter Pan, the cloth covers in fine bright condition and with the scarce green dust-jacket. This edition has a new frontispiece and seven black and white illustrations not present in the 1906 edition, and the fifty colour plates are bound throughout the text rather than at the end.

184 • RACKHAM (ARTHUR) WASHINGTON (IRVING) Rip Van Winkle, first Rackham edition, second impression, 50 tipped-in colour plates, some spotting, publisher’s pictorial green cloth gilt, printed pale green DUST-JACKET (priced 15s on spine, narrow wormtrail on upper cover), 4to, William Heinemann, 1905 £600 - 800 €700 - 930

Books, Maps, Manuscripts & Historical Photography | 143 185

144 | Bonhams 185 AR ROWLING (J.K.) and HARRY POTTER TAYLOR (THOMAS) Artists’s replica of his front cover design for ‘Harry Potter and the Philosopher’s Stone’, pencil and watercolour, signed and dated 2001 by the artist lower right, and inscribed “Replica of the front cover art for Harry Potter and the Philosopher’s Stone” lower left, further inscribed on verso “... Painted by Thomas Taylor 2001/ replica of the cover art of Harry Potter and the Philosopher’s Stone” sheet size 473 x 342mm., 2001 £10,000 - 15,000 €12,000 - 17,000

HARRY POTTER, HOGWARTS EXPRESS AND PLATFORM 9 ¾: the artist’s only replica of perhaps the most recognisable children’s image of the modern era. “As the illustrator of the original cover art, I consider this the only replica I shall ever paint” (letter from the artist, a copy of which is included in the lot).

In 2001 Thomas Taylor was commissioned to paint a replica of his original watercolour by the current vendor, who had unsucessfully tried to buy the original painting at Sothebys earlier that year. In his first letter to the vendor, Taylor explains his motivation for agreeing to reproduce the image: “I have felt rather burdened by my connection to the Harry Potter books, and the auction represented to me a way to break free. That picture has been as much a hindrance in my career as a help, and the occasional feverish attention from the press nothing but an irritation. My immediate reaction to your proposition was to say no. However, after a few days reflection I think that would have been churlish, and I would like to accept the commission.... this will be the only copy I will make, and this will be made clear in writing...”

On completion of the painting, Taylor sent an email “to say that the Harry Potter replica is now finished. I strange [sic] sensation to paint that particular picture again. While I could have painted an exact copy, it really is uncannily like the original. I hope you like it”. As with the original watercolour, it contains far more detail than was actually reproduced on the cover of the book: for example Platform 10 is visible in this image, but was cropped from the printed book cover.

Books, Maps, Manuscripts & Historical Photography | 145 186 187

186 TOLKIEN (J.R.R.) Autograph letter signed (“Ronald Tolkien”), to “My dear Ladies”, sending copies of “Verses” and apologising for the delay in so doing since their return “from the ease of The Belmont”; and describing the weather they have enjoyed since: “May continued to be ‘according to the poets’, on almost every day to its end, in this favoured corner of England. In fact the weather has only just turned bad. We remained in sunshine, immune from storms, even in neighbouring counties, until this morning when at 4 a.m. a Noachic rain began, & is still going on non-stop (8 p.m.). Ones does not read of the great play-cycles of biblical episodes, that used to be performed on Corpus Christi in the open, being ‘washed out’. But no doubt they were sometimes. It may have made the play of Noah more realistic, but must have dampened the roaring rout of King Herod!”; with a note at the end: “please mark any reply Personal & it will be forwarded unopened”, 1 page, very light creasing at top, small folio, c/o George Allen & Unwin, “Corpus Christi” (10 June) 1971 £1,000 - 1,500 €1,200 - 1,700

‘NOACHIC RAIN’ – TOLKIEN ON MEDIAEVAL MYSTERY PLAYS AND THE BRITISH WEATHER. Tolkien and his wife had spent a week in May at the Belmont Hotel in Sidmouth (The J.R.R. Tolkien Companion and Guide, edited by Christina Scull and Wayne G. Hammond, 2006, pp. 753-4). Tolkien wrote to his son Christopher on 2 June: ‘Our brief holiday to Sidmouth, which was what Dr Tolhurst’s advice boiled down to, was very pleasant indeed. We were lucky in our time – in fact the only week available at the hotel – since May was such a wonderful month – and we came in for a “spring explosion” of glory’ (Letters, 323). The “Verses” sent with the letter were copies of The Adventures of Tom Bomadil and Other Verses from the Red Book, published by Allen & Unwin in 1962.

The form of signature used here – “Ronald” as opposed to “J.R.R.” Tolkien – is rare and was used for friends only; in 1963 he wrote to his publishers, who proposed reproducing the “Ronald” signature in facsimile, ‘I do not and never have used the signature “Ronald Tolkien” as an auctorial signature, and I do not think it suitable for this purpose’ (3 February 1964, to Ronald Eames, Tolkien Companion, p.616).

146 | Bonhams 189

187 • TOLKIEN (J.R.R.) The Hobbit or There and Back Again... Illustrated by the Author, first edition, second impression, 5 plates (including 4 colour), illustrations (some full-page), map endpapers, publisher’s cloth, second impression dust- jacket (some tears, with slight loss at corners and spine ends), 8vo, George Allen & Unwin, 1937 £4,000 - 6,000 €4,600 - 7,000

The second impression, the first to include four additional colour illustrations by Tolkien. Although it was still dated 1937, some 2300 copies of this impression came off the presses in January 1938, although 423 unbound copies were destroyed at the binders during a German bombing raid in 1940.

188 TOLKIEN (J.R.R.) Typed letter signed (“J.R.R. Tolkien”), to Mrs Robertson, apologising for the delay in replying, caused by “a lengthy and somewhat troublesome process settling into rooms in College”, and hoping she might visit Sidmouth again: “May I say that I have booked at the Belmont for one week, August 22nd to 29th, for myself, my daughter and my charming grandson Simon”; with a postscript discussing their respective Canadian connections; docketed with date of reply, 1 page, signature in blue ballpoint, light creasing, 4to, Merton College, Oxford, 28 April 1972 £400 - 600 €460 - 700

Included in the lot is a letter signed by Tolkien’s secretary, Joy Hill, thanking Mrs Robertson for her letter of condolence on the death of his wife – “The Professor found your letter a great comfort”.

189 • WORLD WAR I Albums kept by Nurse Helen Johnson, serving at Brook House Hospital, Leverhulme, during the Great War, with contributions made generally between 1915 and 1916 by solders under her care, contributing verses, bare recitations of service, drawings, pasted-in ephemeral, photographs, and verses such as “The conscientious Objector” (giving a Canadian’s view of the American contribution as of 1916) (“The shells were bursting overhead/ As thorough a village swiftly sped/ A gentle youth, who bore a nice/ Star-spangled banner with this/ Strange device/ ‘Too Proud to fight’...”), “God Help the German Butchers” (“...AndSalford Lads have held their own/ With the Kaisers butchers there...”); with loose postcards of Mona Crofte and a photograph of Nurse Johnson, in two albums, leather covers, pines weak and coming loose, oblong 8vo, Brook House Leverhulme, mostly 1915-16 £400 - 600 €460 - 700

Books, Maps, Manuscripts & Historical Photography | 147 190 191

Property from the Estate of the late Thomas Yoseloff, 1913-2007, and thence by descent. Besides following a successful career as an academic publisher Thomas Yoseloff was the last proprietor of the Golden Cockerel Press, which he bought from Christopher Sandford in 1959

190 • MATISSE (HENRI) TZARA (TRISTAN) Le signe de vie, NUMBER 80 OF 300 COPIES “sur vélin de Rives”, signed by the author on the colophon, original lithographed frontispiece SIGNED BY MATISSE in pencil, printed by Mourlot Frères, 6 plates after Matisse, publisher’s wrappers, small folio, Paris, Bordas, 1946 £1,000 - 2,000 €1,200 - 2,300

191 • PICASSO (PABLO) GOLL (IVAN) Elegy of Ihpetonga and Masks of Ashes, NUMBER 58 OF 65 COPIES, first edition, of which this is one of 9 ‘hors commerce’, 4 lithographed plates by Picasso, printed by Mourlot Freres, text printed on different coloured papers, publisher’s cloth, glassine dust-jacket, folio, New York, Noonday Press, 1954 £800 - 1,200 €930 - 1,400

192 • SELIGMANN (KURT) GOLL (IVAN) Jean sans terre. Nettoyé par le vide, NUMBER ONE OF 40 COPIES, 2 letterpress text leaves, original etched plate by Kurt Seligmann, signed with date and limitation (“2/40”), loose as issued in publisher’s wrappers with vignette by Seligmann on the upper cover, folio, New York, Tandem & Nierendorf, [1940]--GOLL (CLAIRE) Diary of a Horse, NUMBER IV OF XX “on Canson and Montgolfier paper, signed by the author”, from an overall edition of 320, 4 plates by Marc Chagall printed in blue, publisher’s cloth, glassine wrapper, 4to, New York, Hemispheres, 1946; and three Sound Recording tapes of Claire Goll reading the work of Ivan Goll (part of his Essay on James Joyce; and his own poetry), 1953 (5) £400 - 500 €460 - 580

148 | Bonhams 194

193 BARKER-MILL (PETER) Device of Cockerel between Compass Rose and the Globe, used for the 50 specials of Sparrman’s “Voyage round the World”, approximately 190 x 62.5mm., [1944]--MORGAN (GWENDA) Lyra with a Wreath, used for the 80 specials of Gray’s “Elegy”, approximately 115 x 75mm., [1946]; and decorative block, perhaps by Dorothea Braby, used for the 60 specials of “Sir Gawain”, approximately 110 x 80mm., 1952, binding brasses (the two latter in zinc), and a recent proof of the last mentioned (3) £300 - 500 €350 - 580

194 BINDING BRASSES Collection of 5 binding brasses, comprising: ‘GCP’ initials, used on “Clothing without Cloth”, 1931, and “Initiation” 1932, etc., approximately 35 x 25mm.; Cockerel atop an empty circle, similar to the blocking on the specials of Herrick’s “One Hundred and Eleven Poems” with illustrations by Russell Flint, approximately 93 x 60mm., 1955; Top Hat, cockerel perched inside with book (?) in its beak, approximately 50 x 70mm.; Cockerel within a Wreath, in a square frame, possibly by Jeffery Wales (similar to a Dorothea Braby design illustrated in “Cockalorum”, p.59), approximately 70 x 70mm.; Cockerel perched on a key, approximately 70 x 80mm., brass, except for the last in zinc (5) £800 - 1,200 €930 - 1,400

Brasses probably made for “special” bindings, though we have not been able to discover which they are. The last three are accompanied by recent proofs (see illustrations) which may make identification easier; they are certainly clearer in this form than impressed in morocco.

Books, Maps, Manuscripts & Historical Photography | 149 195 197

195 BRABY (DOROTHEA) A figure with crossed swords, probably Pwyll, Prince of Dyfed, amid celtic scroll work, 2 binding brasses, approximately 245 x 145 and 210 x 135mm. (the latter with background not gouged off), zinc blocks, traces of gilt still adhering, the larger version used for the binding of the 75 special copies of “The Mabinogion”, the smaller for the ordinary ones, [1948] (2) £300 - 400 €350 - 460

196 CABELL (JAMES BRANCH) Jurgen; a Comedy of Justice, ONE OF 100 COPIES, WITH AN EXTRA PLATE AND SPECIALLY BOUND, this copy unnumbered, title with wood-engraved border and vignette of Pan, 16 wood-engraved plates by John Buckland Wright, purple morocco by Sangorski & Sutcliffe, onlaid red morocco panels on covers stamped with gilt plaques designed by the artist, g.e. [Cock-a-Hoop 182], royal 8vo, Golden Cockerel Press, 1949; WITH THE ORIGINAL ZINC BLOCKS USED FOR THE BINDING, traces of gilt still adhering (3) £300 - 400 €350 - 460

“I particularly liked the specials, with John Buckland Wright’s fantastic designs blocked in gold” (Sandford, Cock-a-Hoop, p. 16).

150 | Bonhams 197

197 • CATULLUS The Complete Poems. Translated by Jack Lindsay, 8 lithographed plates in blue and black, by Josef Herman, printed at the Curwen Press, THREE UNIQUE COPIES, the first, representing the special copies, with colophon annotated by Thomas Yoseloff “one copy only #1”, in black morocco, with gilt cockerels on spine and front cover, preserved in clamshell box; the second, representing the ordinary issue, in quarter blue cloth, slipcase; and the third, a working copy, quarter brown cloth, marbled sides, folio, Golden Cockerel Press, 1981 (3) £10,000 - 15,000 €12,000 - 17,000

THE ONLY THREE COPIES OF THE LAST WORK PUBLISHED AT THE GOLDEN COCKEREL PRESS.

“One other substantial quarto did come near to publication as late as 1981, two proof copies of which remain, one in full morocco, the other in quarter cloth. Yoseloff reprinted Jack Lindsay’s translation of the poems of Catullus... Josef Herman was commissioned as illustrator, producing eight bold lithographs in black and blue. There were to have been 999 copies, of which one hundred specials were to have been bound in full morocco, with each lithograph signed by the artist” (David Chambers, The Golden Cockerel Press; the Final Chapter, The Private Library, 2004).

The plates in the sole surviving special edition copy are unsigned; but included with the lot are three complete sets of the plates, all signed, and 19 overs, of which 6 are signed. Also included are two binding brasses, which “may have been designed by Herman” (Chambers, p.179) of a modern cockerel in cubist style facing both left and right. These were doubtless intended for the specials, but were never used in this or indeed any other Golden Cockerel Press edition. A recent proof of the right facing cockerel is included (see illustration).

A careful search by the family turned up a third copy of the book, which is included here; but there are no others, and this lot provides the only possible opportunity to own the last Golden Cockerel publication.

Books, Maps, Manuscripts & Historical Photography | 151 199

198 • COMENIUS (JOHN) The Labyrinth of the World, ONE OF 70 SPECIALLY BOUND COPIES, this copy unnumbered, illustrations in black and brown after drawings by Dorothea Braby, cream morocco, by Sangorski & Sutcliffe, onlaid red morocco panels on covers stamped with gilt plaques designed by the artist, g.e., original glassine wrappers and card slipcases [Cock-a-Hoop 186], royal 8vo, Golden Cockerel Press, 1951; and 4 other copies, all specials (5) £600 - 800 €700 - 930

199 COMENIUS (JOHN) The Labyrinth of the World, ONE OF 70 SPECIALLY BOUND COPIES, this copy unnumbered, illustrations in black and brown after drawings by Dorothea Braby, cream morocco, by Sangorski & Sutcliffe, g.e., gilt-blocked red morocco panels on covers designed by the artist, original glassine wrapper and card slipcase [Cock-a-Hoop 186], royal 8vo, [1951]; WITH THE ORIGINAL BRASS BLOCKS USED FOR THE BINDING, traces of gilt adhering (3) £300 - 400 €350 - 460

200 JONES (DAVID) Golden Cockerel binding brass, brass block, well used, traces of gilt, approximately 55 x 40mm., [Cleverdon, Engravings of David Jones, 125], [1925] £300 - 500 €350 - 580

“The second cockerel (‘Cockerel B’) was engraved by David Jones and appeared first in his Gulliver’s Travels, 1925, and thereafter in many books and prospectuses” (Cock-a-Hoop, p.52).

201 • RUTTER (OWEN) We Happy Few, SEVEN COPIES, woodcuts by John O’Connor, 1946--Letters of Maria Edgeworth and Anna Barbauld, 4 COPIES, hand-coloured illustrations by Lettice Sandford, 1953--GHOSE (SUDHIN) Folk and Fairy Stories from India, 7 COPIES, illustrations by Shrimati Carlile, 1961, LIMITED EDITIONS, publisher’s cloth, 8vo and 4to, Golden Cockerel Press; and 19 others, the final Golden Cockerel stock, all in fine state, together with 4 parcels of the illustrations to Dryden’s ‘Songs’ [Cock-a-Hoop 206] by Lavinia Blythe (i.e. Leslie Blanche), 1957 (quantity) £300 - 500 €350 - 580

152 | Bonhams 200

202

202 WEBB (CLIFFORD) Collection of 4 binding brasses, comprising: The Eastern and the Western Cavalry Charging, approximately 165 x 90, and 140 x 95mm., used for the 100 specials of de Chair’s “The First Crusade”, [1945]; Bust of Caesar, and a Golden Cockerel device, both within a wreath, approximately 100 x 85mm., used for the 70 special copies of Julius Caesar’s “Commentaries”, [1951] (4) £400 - 600 €460 - 700

“The binding of the ‘specials’... with flowing gilt designs by Clifford Webb seem to me... perfect in their chaste restraint” (Sandford, Cockalorum, 168).

Books, Maps, Manuscripts & Historical Photography | 153 205

204

204

154 | Bonhams 203

203 WRIGHT (JOHN BUCKLAND) Binding brass of Aphrodite garlanding a cockerel, brass block, used for the 50 special copies of Swinburne’s ‘Hymn to Proserpine’, fine detailed engraving, slotted into frame, remains of manuscript label on verso, approximately 75mm. square , [1944] £400 - 600 €460 - 700

“I like the wine-dark binding of the ‘specials’ with the picture stamped in gold on an apple-green panel, of Aphrodite and her cockerel” (Sandford, Cockalorum 159; our block illustrated on p.8.).

204 WRIGHT (JOHN BUCKLAND) Binding brass of a Golden Cockerel, feathers ruffled, used for the 30 specials of the ‘Rubaiyat’, traces of gilt still adhering, with a recent proof(see illustration), approximately 120 x 475mm., [1938]--Honeycomb, with Napoleonic bee at centre, used for the 100 specials of the de Chair ‘Supper at Beaucaire’, artist unattributed, approximately 14.75 x 110mm., 1945--PETTS (JOHN) Entwined Snakes amid decorative Scroll work, used for the 100 specials of ‘Against Women’, approximately 150 x 55mm., [1953], brass blocks (3) £300 - 400 €350 - 460

“The gold block on the special bindings in white vellum was very successful” (Sandford, Cockalorum, 166, ‘Supper at Beaucaire’). For the reproduction of the Petts snakes on the special binding we are indebted to Sophie Schneideman Rare Books.

205 WRIGHT (JOHN BUCKLAND) Binding brass, two cockerels squabbling, brass block, used for the 60 special copies of Phyllis Hartnoll’s ‘Grecian Enchanted’, approximately 195 x 120mm.; and the brass for the spine lettering, [1952] (2) £300 - 400 €350 - 460

Books, Maps, Manuscripts & Historical Photography | 155 206

206 [YUNGE-BATEMAN (JOHN)?] Illustration for a projected edition of ‘The Song of Songs’, oil on board, small loss to corners, reference (“Song of Songs; II, 5, plate 3”) pasted on back, and sheet of greaseproof paper with the reduction for the book “About 20 by 27cm. approx” inked on, image 467 x 615mm., [c.1959-60] £400 - 600 €460 - 700

John Erskine James Yunge-Bateman (1897-1971) “illustated the last two books that Christopher Sandford designed and published before he sold the Golden Cockerel Press in 1959. His lush highly-worked drawings were reproduced in collotype” (Horne, p. 92). The present painting is unsigned, the attribution from family tradition. Comparison with the 2 Golden Cockerel Press Yunge-Bateman books leaves little doubt that this is correct. However both books use colloptye for the plates, so that the lush colour of the originals is lost. The painting here illustrates perhaps the most famous verse in The Song of Songs Solomon’s “Stay with me flaggons, comfort me with apples, for I am sick of love”. It seems very likely that this is a survivor of a projected Sandford Golden Cockerel, which would have been the third Golden Cockerel Press edition of the text, song of solomonitis indeed.

156 | Bonhams 209

The Property of a Gentleman

207 • DOVES PRESS BROWNING (ROBERT) Men & Women, 2 vol., LIMITED TO 250 COPIES, printed in red and black, both volumes flourished by Edward Johnston, in blue, green and red, signed by him under the colophons (about 200 copies completed by E.J.), publisher’s vellum by the Doves bindery, signed on rear paste-downs, 4to, Hammersmith, Doves Press, 1908 £600 - 800 €700 - 930

“The prettiest and most colourful of the Doves Press books” (Tidcombe, p.56).

208 • GILL (ERIC) MATHERS (EDWARD POWYS) Procreant Hymn, NUMBER 113 OF 200 COPIES, 5 engraved plates by Eric Gill, publisher’s cloth, dust-jacket (foxed) [Skelton, Books, 125; there are variant plates, this copy contains P359- 363], 1926--CLAY (ENID) The Constant Mistress, NUMBER 73 OF 300 COPIES, signed by author and artist, 6 wood-engravings by Gill, publisher’s quarter cloth [Skelton, Books, 38], 1934, Golden Cockerel Press; and 27 others, many by Gill, including Skelton 34 & 150 (29) £500 - 700 €580 - 810

209 GILL (ERIC) Crucifix, wood-engraving, mounted on grey paper; with a copy printed in GILT ON BLACK paper (some foxing); and a later issue on paper [P151], [1919], each approximately 100 x 132mm.; Christ and the Money Changers, lightly mounted on card [P153], 93 x 145mm.,[1919]; Madonna and Child in Vesica, printed on tissue (margins a little creased), 43 x 108mm.; and two other impressions on paper (one late), [P143], [1918]; and others, [P113, 154 (x 2), 164 (x 3) and 174 (x 2)], all proof engravings (15) £400 - 600 €460 - 700

“Crucifix... one of a few proofs printed in gold on black paper... issued form in red” (Elkin Mathews, Cat. 110, item 575, 3 guineas).

Books, Maps, Manuscripts & Historical Photography | 157 210 212

210 GILL (ERIC) Death and the Lady, lettered “proof EG” [P285, 25 copies], 83 x 127mm., [1925]; Child Picking Flowers, printed on tissue, no. 16 (of 25) copies [P287], 38 x 42mm., [1925]; Lovers on a Bank, no.17 (of 25) copies [P288], 75 x 45mm., [1925]; The Dancer, “23/24 EricG” in pencil [P291], 43 x 128mm., [1924]; and 4 others, [P328, 343 (signed), 382 & 398], proof engravings (8) £400 - 600 €460 - 700

211 GILL (ERIC) Engravings, 1928-1933, numerous illustrations, from the original blocks, printed on one side of the leaf, publisher’s cloth, unopened, dust-jacket (slightly worn), 4to, Faber, 1934; together with a box and portfolio of Gill material (3) £400 - 600 €460 - 700

The box contains approximately 60 Gill proofs, many (but not all) on machine-made paper, and from the Faber book. The portfolio contains proofs from its 1929 predecessor (including corrected text), proofs of pp. 1/2 & 15/16 from the Golden Cockerel Press Canterbury Tales (4 engravings by Gill), and some miscellaneous Gilliana.

212 GILL (ERIC) Eve [bookplate for Jacob Weiss], 15 copies, [P885], 65 x 100mm., [1935]; Novissime diebus [Christmas Card for Eric and Mary Gill], 2 leaves [P896], 70 x 38mm., 1935; and others (P55 (x 2), 216, 371, 491 cut close); and a bookplate with initials ‘DW’ for Dorothy Woolf (?if by Gill), proof engravings (22) £400 - 600 €460 - 700

158 | Bonhams 213

213 GILL (ERIC) Five autograph letters and cards signed (“Eric G.” and “EG”), to Douglas Cleverdon, concerning his books, designs that Cleverdon had published in his capacity as publisher, and books supplied by Cleverdon in his capacity as bookseller, including Lawrence’s Pansies (“...Herewith Pansies I’m sorry to have kept them so long. It was difficult to find time to copy out the marked ones. Please send me the ordinary edition, soon as poss. What about American money – have you got any in yet?...”), the Cranach Song of Songs (“...I’m sure Kessler wd. be glad if anyone sold a copy of S. of S. So if you send me chq. I will send you book...”) and the Golden Cockerel Troilus and Criseyde; together with an envelope addressed originally to Gill and readdressed in Gill’s finely flourished hand to Cleverdon, 5 pages, three cards with autograph addresses on verso, 4to, 8vo and 16mo, Pigotts, 1928-1933 £400 - 600 €460 - 700

214 GILL (ERIC) Flight into Egypt, printed on thin card [P52, records proofs only; no later use], 48 x 60mm., [1916]; Adeste Fideles, printed on thin card [P72], 50 x 52mm., [1916]; Christmas Gifts; Daylight, printed on tissue, signed Eric G. with no.3 [P80], 90 x 75mm., [1916], proof engravings; and others, [P71, 108 (x2), 111 and 5 later prints of 80, on three leaves] (9) £300 - 500 €350 - 580

215 GILL (ERIC) Good Shepherd, lettered “5/50 EricG” [P397], 43 x 78mm., [1927]; Our Bed is All of Flowers, margins a bit close [P495 “15 impressions”], 110 x 95mm., [1927]; Nigra sum (Black but Comely), for the Cranach Press, lettered 11/30 EricG [P618, no limitation given], 68 x 143mm., [1929]; The Sower (initial “T” for Four Gospels), signed EG, early issue before the background was scraped [P770], 52 x 68mm., [1931]; Virgin and Child (for a Christmas Card), image signed in pencil EG, inscribed below “with love from Eric & Mary 25.12.31” [P827], 70 x 150mm., 1931; and others [P411(x 2), 412(x 2), 480 and 483], proof engravings (11) £500 - 800 €580 - 930

Books, Maps, Manuscripts & Historical Photography | 159 216 218

219 220

160 | Bonhams 216 GILL (ERIC) Madonna, Child & Children, first issue, the background only partly scraped away, signed with intials and 44/c in Gill’s hand, lightly mounted on a small sheet of vellum [P341; Cleverdon suggests 50 copies], 85 x 126mm., [1925]; Adam, Eve, printed on the same sheet of India paper [P265-66, designs for carvings], each approximately 27 x 104mm., [1923], proof wood-engravings; and 7 others, all proof wood-engravings [P14, 74, 84, 86, 214, 219 & 303] (9) £400 - 600 €460 - 700

217 GILL (ERIC) Naked Girl lying on Grass, lettered in pencil “proof EG” [P 284, probably 25 proofs], approximately 43 x 78mm., [1924]; Venus, proof (not in P or Skelton) before the addition of foliage and shading [cp. P 290], [1924]; On the Tiles, proof on India paper (not in P or Skelton) before the tiles on which the girl is crouched, [cp. P191], [1921]; Lovers, second state, on India paper, “proof EG” in pencil, perhaps one of 25 copies, [P166], [1926]; Lovers, third (?) state, pencil note “proof”, slight differences from the illustration in Skelton (bottom lefthand background has been scorped away) [P166], [1928?]; The Chinese Maidservant, approximately 78 x 38mm. initialled by the artist [P577], [1929]; and 4 others, similar proof engravings, P228, 293, 306 & 475 (10) £600 - 800 €700 - 930

218 GILL (ERIC) Paul taking Bread in the Boat, ordination card, with text “Ad Presbyteratum...” on verso, engraved by Gill after David Jones [P966; Cleverdon E207], 203 x 140mm., [1937]; Autumn Midnight, printed on an exceptionally large sheet of tissue (blank edges a little creased) [P231], 83 x 120mm., [1923]; Torso of a Woman, tipped onto a large sheet of paper [P257, but the illustration in Skelton has been extensively scorped; the present version is pure white line on black], 220 x 90mm., [1923]; Madonna and Child “the shrimp”, mounted [P209], 67 x 92mm., [1922]; Divine Lovers, printed on a large sheet of India paper [P114A, a white line engraving; Skelton illustrates the intaglio version], 79 x 107mm., [1926] (5) £400 - 600 €460 - 700

219 GILL (ERIC) Portrait of Moira Gibbings, [P296], 110 x 175mm., [1924]; Earth Waiting, [P360], 89 x 115mm., [1926]; The Skaters, [P368], 112 x 112mm., [1926]; Rachel Rothenstein, lettered “proof EG”, one of 25 copies [P370], 175 x 250mm, [1926], engravings; and others [P270, 298 (x 2), 302, 304, 306, 336, 372, 374-75 (both in sanguine) and 396 (lettered “proof”), proof engravings (15) £400 - 800 €460 - 930

220 GILL (ERIC) St. Christopher, 3 copies, all printed on tissue [P198, design for a carving, no further use], 38 x 107mm., [1922]; St. Sebastian, printed on tissue [P200 design for a carving “the artist had no impression”], 38 x 110mm., [1922]; and others, [P153 (x 6, 192, 197 (with separte proof for base), 201(x 2) and 204], all proof engravings (15) £400 - 600 €460 - 700

Books, Maps, Manuscripts & Historical Photography | 161 221

221 • GILL (ERIC) Study of a female nude, showing the model face down with her right knee drawn up, in shaded pencil with sanguine crayon baselines, signed with monogram and dated 26 [seemingly altered from 27] April 1927, on wove paper, lightly time-stained where framed, 250 x 270mm., 26 or 27 April 1927 £400 - 600 €460 - 700

FROM THE COLLECTION OF DOUGAS CLEVERDON: two very similar Matisse-like studies of the same model, seen reclining and seated from behind, employing the same outline technique and sanguine baselines, and dated 27 April 1927, are held by the Art Gallery of New South Wales (Accession Numbers 6785.2 and 6).

222 GILL (ERIC) Tennis player, 3 impressions (one late) [P217], 105 x 118mm., [1923]; Crucifix, robed, mounted, slightly creased [P258 “the artist had no impression”], 50 x 78mm., [1923]; Mary at the Sepulchre, after a drawing by David Jones [P262 “only 4 prints, block destroyed”; Cleverdon E17], 52 x 74mm., [1923]; and others, [P194, 218, & 256 (x 6)], proof engravings (13) £400 - 600 €460 - 700

223 GILL (ERIC) The Slaughter of the Innocents, lightly pasted to card [P18], 68 x 80mm., [1914]; The Trinity with Chalice, lightly pasted to paper [P22] 65 x 104mm., [1914]; Madonna and Child, early state with background not scorped away, lightly pasted to paper [P30], 52 x 60mm., 1914; A Man Seated in his Garden, coloured by hand, as the V. & A. copy, numbered in pencil (27) [P37], 82 x 78mm., [1915], all proof engravings; and 4 other proof engravings [P38 & 41; later issues of 18 & 37] (8) £400 - 800 €460 - 930

162 | Bonhams 223

222

224 • GILL (ERIC) Twenty-five Nudes, first edition, illustrations printed white on black, publisher’s red cloth, dust-jacket, 1938; Art and Manufacture, 3 copies, LIMITED TO 60 COPIES (numbers 6, 22 and 26), signed by Gill, 3 engraved illustrations by Gill (P382 and 2 of puppets), sewed, 1929--DONNE (JOHN) The Holy Sonnets, LIMITED TO 500 COPIES, signed by Gill, 4 engravings by Gill, publisher’s black cloth, gold dust-jacket, 1938, covers slightly soiled--The Story of How Amnon Ravished his Sister, [LIMITED TO 225 COPIES], 12 leaves (2 blank), drophead title, one engraving by Gill, plain blue wrappers, 1930, [Skelton, Books, 168,7, 72 & 156], 8vo, Hague and Gill; and 9 others, Gill (15) £400 - 600 €460 - 700

The two engravings of puppets in Art and Manufacture are listed as “engraved after designs by the author” in the book, and in Evan Gill, Bibliography 19, but are not in Physick or Skelton. Maggs Catalogue 1401 (item 29) attributes the engraving to Beedham; but Skelton’s Appendix 2 on Beedham notes that “he had no gift for creative drawing”.

225 • GILL (ERIC) The Song of Songs, 14 copies, 2-leaf prospectus, in Latin, printed in black and red, engraving by Gill [P618], Weimar, Kessler & Bristol, Cleverdon, 1931; and other prospecti including Golden Cockerel Press Four Gospels, single sheet; 2 engravings by Gill, [1931]; Here is Printed for the Exhibition, 8pp.; 3 Gill engravings from Canterbury Tales [Chambers LVI], [1935]; a collection of Hague & Gill ephemera, including Walter Shewring. On a Chinese Picture, limited to 30 copies, High Wycombe, 1935 (approximatley 100 pieces) £400 - 600 €460 - 700

Books, Maps, Manuscripts & Historical Photography | 163 227

226 • GOLDEN COCKEREL PRESS SWINBURNE (ALGERNON) Hymn to Proserpine, NUMBER 208 OF 350 COPIES, engravings by John Buckland- Wright, publisher’s cloth, morocco spine label, 1944--DUNSANY (EDWARD, Baron) Lord Adrian, NUMBER 227 OF 325 COPIES, AUTHOR’S PRESENTATION COPY, inscribed to Lance Sievking, and with 3 letters from Dunsany to Sievking inserted, mostly about the stage production (“..I should like to read it to the cast, because there is about as much difference between the human voice & typescript as there is between one language & another...”), engravings by Robert Gibbings, publisher’s quarter morocco, rubbed, 1933--SHAKESPEARE (WILLIAM) XIIth Night, sample pages, 32 pp., coloured illustrations by Eric Ravilious, publisher’s wrappers [Chambers P82, note], 1932, Golden Cockerel Press, 8vo; and others, Golden Cockerel Press, including 3 books, 10 prospecti, of which Chambers XL & LIV have engravings by Ravilious specially cut for them (16) £500 - 700 €580 - 810

227 JONES (DAVID) Jesus before Pilate, [Cleverdon E17], 95 x 75mm. 1924; Noli me tangere; Soldiers at the Tomb, double image, [Cleverdon E10 “the block lost”], 90 x 78mm., 1923; The Natural Law, [Cleverdon E78], 83 x 56mm., 1924; Huntsman leaps over Gulliver’s foot, no. 7 of 10 proof copies [Cleverdon E88], 60 x 60mm., 1924; Nativity with Cross and Star, faint plate marks outside image [Cleverdon E40], 69 x 108mm., 1926; The Good Shepherd, bookplate for the Peplers, Jesus’ robe touched in red “not for sale” in upper margin [Cleverdon E43], 70 x 70mm., 1926, proof wood-engravings, ALL SIGNED AND DATED BY THE ARTIST (5) £500 - 800 €580 - 930

228 KELMSCOTT PRESS MORRIS (WILLIAM) The Tale of King Florus and the Fair Jehane, LIMITED TO 350 COPIES, printed in red and black, woodcut title, border and initials by Morris, publisher’s cloth-backed boards [Peterson A21], small 4to, Hammersmith, Kelmscott Press, 1893 £400 - 600 €460 - 700

164 | Bonhams 228

229 • KELMSCOTT PRESS MORRIS (WILLIAM) Of the Friendship of Amis and Amile, LIMITED TO 500 COPIES, [Peterson A23], 1894; Gothic Architecture, LIMITED TO 1500 COPIES, [Peterson A18], 1893, printed in red and black, titles, borders and initials by Morris, publisher’s cloth-backed boards, 8vo, Hammersmith, Kelmscott Press--LEFEVRE (RAOUL) The Recuyell of the Historyes of Troye, 4 specimen pages on 2 conjugate leaves, 2000 copies printed for Quaritch in red and black, initials, borders and printer’s mark by Morris, folded, slight glue mark on last page [Peterson D1.1], small folio, 1892 (3) £400 - 600 €460 - 700

230 • PEPLER (HILARY) The Devil’s Devices, NUMBER 48 OF 200 PROOF COPIES, signed by Pepler and Eric Gill, 12 engravings (11 by Gill), errata slip in red concerning. Rev. Jones, and an autograph letter signed from Pepler to F.L. Griggs (1876- 1938, printer and etcher) commenting that the book “is in the uneviable position of being the last which I shall every have printed by machinery”, publisher’s half cloth, rubbed [Skelton, Books, 42], Hammersmith House Workshops, 1915--GILL (ERIC) Christianity and Art, frontispiece by David Jones, 2 copies, LIMITED TO 200 COPIES, being nos.170 (altered by Gill to 164; signed by him alone) and 195 (signed by Gill and Jones), title engraving by Gill, publisher’s blue cloth, slightly stained [Skelton, Books, 29 (but first reference seems to be incorrect; the second P382 stands)], Capel-y-Ffin, 1927, 8vo; and 6 others, including 3 further copies of the unlimited issue of the first named item, in variant bindings, and 2 copies of Taylor & Sewell A73a, also in variant bindings (9) £300 - 500 €350 - 580

231 • ST. DOMINIC’S PRESS PEPLER (HILARY) Nisi Dominus, 2 copies, 25 wood-engravings (20 by Gill), one in grey wrappers “Price three shillings”, one in cloth-backed boards, lettered “Price five shillings” [Taylor & Sewell A55; Skelton, Books, 104] 1919; Plays for Puppets, 2 copies, numbered and initialled by Pepler, 5 wood-engravings by Mary Short, decorative cloth-backed boards [Taylor & Sewell A174], 1928-1929; Saint Dominic, engraving by David Jones on title, half cloth, silver paper sides, large engraving of the Saint by Desmond Shute on upper cover [Taylor & Sewell A173, a variant, being on machine paper but with full-page cover engraving], 1929, 8vo, Ditchling, St. Dominic’s Press (5) £300 - 500 €350 - 580

Books, Maps, Manuscripts & Historical Photography | 165 232 233

232 • ST. DOMINIC’S PRESS PEPLER (HILARY) God and the Dragon, LIMITED TO 200 COPIES, 17 engravings (15 by Gill), with the red printed slip concerning the engravings pasted in, publisher’s printed boards, slightly soiled, [Taylor & Sewell A16; Skelton, Books, 64], 1917--The Way of the Cross, 18 engravings by Gill, one line addition (*That is..) printed in red on penultimate leaf, cloth-backed boards [Taylor & Sewell A23; Skelton, Books, 177], 1917, Ditchling, Douglas Pepler, 8vo; and others, St. Dominic’s Press (13) £400 - 600 €460 - 700

233 • ST. DOMINIC’S PRESS SHEWRING (WALTER HAYWARD) Hermia and Some Other Poems, NUMBER 107 OF 240 COPIES, 2 wood- engravings by David Jones, errata in red, slip about previous publication inserted, publisher’s cloth-backed boards, glassine wrapper [Taylor & Sewell A201], 1930--Adeste Fideles, 4 leaves, 6 engravings by Eric Gill, that on front cover printed in red, stitched as issued [Taylor & Sewell A10; Skelton, Books, 1], 1916--King George and the Turkish Knight; Old Sussex Play, unattributed wood-engraving on title and front wrapper, slip giving music (and a different text) to “The Road Town” tipped in at p.13 (not mentioned by T&S), stitched as issued [Taylor & Sewell A83], 1921, 8vo, Ditchling, St. Dominic’s Press; and 6 others (T&S A134, 146, 149b, 158, 198 & 208a) (9) £400 - 600 €460 - 700

234 ST. DOMINIC’S PRESS The Hen; Rhyme Sheet No.8, single sheet, coloured woodcut at head, with an advert sheet for the Rhyme Sheets [Taylor & Sewell B18a, but “8” in type], [c.1928]; Libellus Lapidum [by Hilary Pepler], 16 engravings by David Jones, grey wrappers, printed in green and red [Taylor & Sewell A125c], 1924; A list of Christmas Cards, coloured illustrations, 1938, Ditchling, St. Dominic’s Press; and a bundle of catalogues (J24b, 4045-49, 51, 6569 & 72 etc.), and pamphlets (A10c, A118d, etc.) relating to the Press (quantity) £400 - 600 €460 - 700

166 | Bonhams 235

235 • ST. DOMINIC’S PRESS PEPLER (HILARY) Nisi Dominus, 25 wood-engravings (20 by Gill), grey wrappers priced “3/-” [Taylor & Sewell A55; Skelton, Books, 104], 1919; In Petra, being a Sequel to Nisi Dominus, 9 wood-engravings (6 by Gill, 3 by David Jones), half black cloth, title slip on front cover (black leather, lettered in silver), sides patterned in red on sheets from Mairet’s Vegetable Dyes [Taylor & Sewell A111, variant binding; Skelton, Books, 78], 1923; Libellus Lapidum... the First Part [all published], 17 engravings (16 by David Jones), grey wrappers, slightly soiled [Taylor & Sewell A125e], 1924--BEEDHAM (RALPH JOHN) Wood Engraving, 33 engravings (5 by Gill), quarter cloth [Taylor & Sewell A76; Skelton, Books, 182], 1920--GILL (ERIC) Songs without Clothes, 2 copies, Gill device on title (P145), half cloth [Taylor & Sewell A82, variant d but without the plain dust-jacket], 1921, 8vo, Ditchling, St. Dominic’s Press (6) £300 - 500 €350 - 580

End of Sale

Books, Maps, Manuscripts & Historical Photography | 167 Index Entry Lot No’s Churchill, A. and J. 21 Churchill, W.S. 143, 144 Adams, R. 136, 137 Cobden-Sanderson, T.J. 145 Albin, E. 1 Coburn, A.L. 101 Album amicorum 2 Coleridge, S.T. 168 Algeria 52 Colour-printing 31 America 92 Cromwell, O. 23 Architectural drawings 3 Cromwell, T. 22 Aristotle 4 Curtis, E. S. 102 Armenia 5 D’Espagne, J. 24 Atlases 50 Dammann, C. 103 Austen, J. 6 Daniell, W. 25, 26 Australia 7, 8 Darwin, C. 27 Bakst, L. 139 de la Grange, A. 104 Ballet 139 Digges, T. 28 Barbey d’Aurevilly, J. 140 Disney, W. 146 Barrie, J.M. 138, 182, 183 Disraeli, B. 147 Barrow, J. 9 Dodgson, C.L. 148-151 Bayardi, O.A. 67 Doves Press 207 Beato, F. 97 Duff, A. 105 Beerbohm, M. 117 Egypt 12, 98 Bernardus Claravallensis 10 Einstein, A. 152 Bibles 11 Eliot, T.S. 153, 154 Biggles 164-167 Erotica 106 Bindings 71, 145 Ethnography 103 Binion, S.A. 12 Euclid 29 Bohemia 24 Flaxman, J. 124 Bonfils, F. 98 Floriani, P.P. 30 Book of Hours 13, 14, 46 Freud, S. 155 Boswell, J. 15 Furniture 19 Bowyer, R. 16 Galliari, G. 32 Braby, D. 195, 198, 199 George III 33 Brazil 34 George IV 34 Brown, F.M. 118 Germany 2 Browning, R. 207 Gibbon, E. 35 Buat-Nancy, L.G. 35 Gill, E. 208-235 Buckingham Palace 94 Gissing, G. 156 Burne Jones, E. 119-123 Gladky, S. 157 Cameron, J.M. 99, 100 Golden Cockerel Press 193-208, 226 Carroll, L. 151 Goll, I. 191 Ceylon 51 Grahame, K. 158 Chagall, M. 141, 192 Great Train Robbery 159 Chaucer, G. 18 Greene, G. 160 China 83, 95 Guillermus Alvernus 36 Chippendale, T. 19 Guillimann, F. 37 Christie, A. 142 Haggard, H.R. 161 Churche, R. 20 Hardie, M. 114 Hawarden, C. 107 Mathematics 17, 28, 29 Hebrew 61 Matisse, H. 190 Henry VIII 38 Medicine 72 Heraldry 39 Menzies, W. 110 Herman, J. 197 Middlesex 63 Holinshed, R. 42 Military 31, 48, 93, 112, 175, 189 Holy Land 74, 131 Milton, J. 59 Homer 43 Moll, H. 60 Horse racing 75 Montgomery, B.L. 175 Humfrey, P. 44 Morris, W. 123, 169, 228, 229 Hunt, W.H. 125 Munster, S. 61 Husbandry 20 Music 44 Hyginus, C.J. 45 Nelson, H. 62, 124 Illuminated manuscript 46 Neruda, P. 176 Incunabula 10, 17, 36, 45, 65, 81, 84, 90, 91 Norden, J. 63 India 25, 47, 48, 97 O’Neill, E. 177 Iran 49 Omar Khayyam 117 Irving, W. 184 Orpen, W. 129 Italy 3 Orwell, G. 178 JAK 159 Pepler, H. 231-235 James, H. 162, 163 Percy, T. 64 Java 70 Persia 58 Jeffreys, T. 50 Petrus Lombardus 65 John, A. 126 Photography 97-113, 143 Johns, W.E. 164, 165, 166, 167 Picasso, P. 191 Johnson, S. 15, 64 Pine, J. 66 Jones, D. 200, 227, 230, 233 Pompeii 67 Kelmscott Press 168, 169, 228, 229 Pope, A. 68 Kent 39 Postal history 40 Knox, R. 51 Potter, B. 179, 180 Lambeth Ferry 56 Prevost d’Exiles, A.F. 69 Landseer, E. 127 Proust, M. 181 Lang, A. 170 Rackham, A. 130, 182-184 Lawrence, T.E. 171 Raffles, T.S. 70 Le Fevre, J. d’E. 4 Railways 111 Leroux, G. 172 Ravilious, E.. 226 Lessore, E.A. 52 Recipes 71, 72 Lewis, C.S. 173 Roberts, D. 74, 131 Lewkenor, L. 53 Roe, T. 76 Linden, J. 54 Rossetti, D.G. 132 Linnell, J. 128 Rowling, J.K. 185 London 56, 57, 73 Royalty 33, 34, 38, 40, 41, 94 Lord, H. 58 Ruskin, J. 55, 77, 121 Lowell, J.R. 77 Russia 16 Luynes, H.T.P.J. d’A. 108 Sardi, P. 30 Mann, T. 174 Scotland 80, 105 Maps and atlases 5, 49, 60 Scott, W. 79, 80 Seligmann, K. 192 Shepard, E.H. 158 Sikhs 47 Smith, T. 82 Sonnerat, P. 83 Spain 53 Speight, T. 18 Spiera, A. de 84 Spinoza, B. 85 St. Dominic’s Press 231-235 Stereoviews 113 Stow, J. 86 Sweet, R. 87, 88 Swift, J. 89 Taylor, T. 185 Textoris, G. 90 Theatre designs 32 Theology 78 Thorvalsden, B. 133 Tibet and Sikkim 109 Tolkien, J.R.R. 186, 187, 188 Turkey 76 Turrecremata, J. de 91 Tzara, T. 190 Vancouver, G. 92 Vegetius Renatus, F. 93 Vignes, L. 108 Voyages 69 Wathen, J. 95 Whistler, J.A.M. 134 Whistler, R. 135 Windsor 110 Wordsworth, W. 96 World War I 171, 189 Wright, J.B. 203-205 Yunge-Bateman, J. 206 Forthcoming Auctions UK US

Knightsbridge San Francisco & Los Angeles Fine Books & Manuscripts Books, Maps, Manuscripts Fine Books & Manuscripts, 9 December & Historical Photographs 17 February 19 March Printed & Manuscript Judaica 19 June New York 9 December 12 November World War II: The Pacific Theater 22 February Illustration Art New Bond Street 10 December Travel & Photography, Xi’an Incident: including India & Beyond The Papers of Hyland “Bud” Lyon Los Angeles & New York 3 December 20 March Fine Books & Manuscripts 16 October New Bond Street History of Science & Technology Roy Davids Part III 16 April +44 (0) 207 393 3834 Poetry: Poetical Manuscripts & [email protected] Portraits of Poets Fine Books & Manuscripts Session 1 & Session 2 25 June 10 April & 8 May Travel, including the Arctic Library Oxford of Dr. William Priester Printed Books & Maps 25 June 19 February 30 April Russian Literature & Works on Paper 25 June 26 June 10 September 26 November

International Auctioneers and Valuers - bonhams.com/books The Roy Davids Collection Part III Poetry: Poetical Manuscript & Portraits of Poets

+44 (0) 207 393 3834 Volume I: A-K. Lots 1-263 [email protected]

Wednesday 10 April 2013 at 1pm Gerard Manley Hopkins The last of three pages of “Binsey Poplars”, [1879] Volume II: L-Y Lots 264-526 £40,000 - 45,000 Wednesday 8 May 3013 at 1pm New Bond Street, London

International Auctioneers and Valuers - bonhams.com/books Books, Maps, Manuscripts & Historical Photographs +44 (0) 207 393 3828 Wednesday 19 June 2013 [email protected]

Knightsbridge, London Fawkes (Lionel G. Fawkes, 1849-1931) A set of original pen and ink Entries now invited illustrations for “The Way We Are Closing date for entries Now” by Anthony Trollope. Wednesday 24 April 2013 £10,000 - 15,000

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The Buyer will be the Bidder who the Lot contained in a Condition Report will form part of the out in our Buyer’s Agreement, which you will find at Appendix makes the highest bid acceptable to the Auctioneer for any Lot Contractual Description of the Lot under which it is sold to 2 at the back of the Catalogue. This will govern Bonhams’ (subject to any applicable Reserve) to whom the Lot is knocked any Buyer. relationship with the Buyer. down by the Auctioneer at the fall of the Auctioneer’s hammer. Any dispute as to the highest acceptable bid will be settled by The Seller’s responsibility to you 2. LOTS the Auctioneer in his absolute discretion. All bids tendered will The Seller does not make or agree to make any representation relate to the actual Lot number announced by the Auctioneer. of fact or contractual promise, Guarantee or warranty and Subject to the Contractual Description printed in bold letters An electronic currency converter may be used at the Sale. This undertakes no obligation or duty, whether in contract or in in the Entry about the Lot in the Catalogue (see paragraph 3 equipment is provided as a general guide as to the equivalent tort (other than to the eventual Buyer as set out above), in below), Lots are sold to the Buyer on an “as is” basis, with amount in certain currencies of a given bid. We do not accept respect of the accuracy or completeness of any statement all faults and imperfections. Illustrations and photographs any responsibility for any errors which may occur in the use of or representation made by him or on his behalf, which is in contained in the Catalogue (other than photographs forming the currency converter. We may use video cameras to record any way descriptive of any Lot or as to the anticipated or part of the Contractual Description) or elsewhere of any Lots the Sale and may record telephone calls for reasons of security likely selling price of any Lot. Other than as set out above, are for identification purposes only. They may not reveal the and to assist in solving any disputes which may arise in relation no statement or representation in any way descriptive of a true condition of the Lot. A photograph or illustration may not to bids made at the Sale. At some Sales, for example, jewellery Lot or any Estimate is incorporated into any Contract for Sale reflect an accurate reproduction of the colour(s) of the Lot. Lots Sales, we may use screens on which images of the Lots will be between a Seller and a Buyer. are available for inspection prior to the Sale and it is for you to projected. This service is provided to assist viewing at the Sale. satisfy yourself as to each and every aspect of a Lot, including The image on the screen should be treated as an indication Bonhams’ responsibility to you its authorship, attribution, condition, provenance, history, only of the current Lot. It should be noted that all bids You have the opportunity of examining the Lot if you want to background, authenticity, style, period, age, suitability, quality, tendered will relate to the actual Lot number announced by and the Contract for Sale for a Lot is with the Seller and not roadworthiness (if relevant), origin, value and estimated selling the Auctioneer. We do not accept any responsibility for any with Bonhams; Bonhams acts as the Seller’s agent only (unless price (including the Hammer Price). It is your responsibility errors which may occur in the use of the screen. Bonhams sells the Lot as principal). to examine any Lot in which you are interested. It should be remembered that the actual condition of a Lot may not be as 5. BIDDING Bonhams undertakes no obligation to you to examine, good as that indicated by its outward appearance. In particular, investigate or carry out any tests, either in sufficient depth or parts may have been replaced or renewed and Lots may not We do not accept bids from any person who has not at all, on each Lot to establish the accuracy or otherwise of any be authentic or of satisfactory quality; the inside of a Lot may completed and delivered to us one of our Bidding Forms, Descriptions or opinions given by Bonhams, or by any person not be visible and may not be original or may be damaged, either our Bidder Registration Form, Absentee Bidding Form on Bonhams’ behalf, whether in the Catalogue or elsewhere. as for example where it is covered by upholstery or material. or Telephone Bidding Form. You will be asked for proof of Given the age of many Lots they may have been damaged and/ identity, residence and references, which, when asked for, you You should not suppose that such examinations, investigations or repaired and you should not assume that a Lot is in good must supply if your bids are to be accepted by us. Please bring or tests have occurred. condition. Electronic or mechanical parts may not operate your passport, driving licence (or similar photographic proof or may not comply with current statutory requirements. You of identity) and proof of address. We may request a deposit Bonhams does not make or agree to make any representation should not assume that electrical items designed to operate from you before allowing you to bid. We may refuse entry of fact, and undertakes no obligation or duty (whether in on mains electricity will be suitable for connection to the to a Sale to any person even if that person has completed a contract or tort) in respect of the accuracy or completeness mains electricity supply and you should obtain a report from Bidding Form. of any statement or representation made by Bonhams or on

NTB/MAIN/11.12 Bidding in person identity of your client in advance, we will be in a position to G Gold bullion exempt from VAT on the Hammer Price You should come to our Bidder registration desk at the Sale address the invoice to your principal rather than you. We will and subject to VAT at the prevailing rate on the Buyer’s venue and fill out a Bidder Registration Form on (or, if possible, require proof of the agent’s client’s identity and residence in Premium before) the day of the Sale. The bidding number system is advance of any bids made by the agent on his behalf. Please • Zero rated for VAT, no VAT will be added to the Hammer sometimes referred to as “paddle bidding”. You will be issued refer to our Conditions of Business and contact our Customer Price or the Buyer’s Premium with a large card (a “paddle”) with a printed number on it. Services Department for further details. a Buyers from within the EU: VAT is payable at the This will be attributed to you for the purposes of the Sale. prevailing rate on just the Buyer’s Premium (NOT the Should you be a successful Bidder you will need to ensure that 6. CONTRACTS BETWEEN THE BUYER AND SELLER Hammer Price) your number can be clearly seen by the Auctioneer and that it AND THE BUYER AND BONHAMS § Buyers from outside the EU: VAT is payable at the is your number which is identified as the Buyer’s. You should prevailing rate on both Hammer Price and Buyer’s not let anyone else use your paddle as all Lots will be invoiced On the Lot being knocked down to the Buyer, a Contract for Premium. If a Buyer, having registered under a non-EU to the name and address given on your Bidder Registration Sale of the Lot will be entered into between the Seller and address, decides that the item is not to be exported from Form. Once an invoice is issued it will not be changed. If there the Buyer on the terms of the Contract for Sale set out in the EU, then he should advise Bonhams immediately. is any doubt as to the Hammer Price of, or whether you are the Appendix 1 at the back of the Catalogue. You will be liable to successful Bidder of, a particular Lot, you must draw this to the pay the Purchase Price, which is the Hammer Price plus any In all other instances no VAT will be charged on the Hammer attention of the Auctioneer before the next Lot is offered for applicable VAT. At the same time, a separate contract is also Price, but VAT at the prevailing rate will be added to Buyer’s Sale. At the end of the Sale, or when you have finished bidding entered into between us as Auctioneers and the Buyer. This Premium which will be invoiced on a VAT inclusive basis. please return your paddle to the Bidder registration desk. is our Buyer’s Agreement, the terms of which are set out in Appendix 2 at the back of the Catalogue. Please read the terms 9. PAYMENT Bidding by telephone (only available on lots with a of the Contract for Sale and our Buyer’s Agreement contained low estimate greater than £400) in the Catalogue in case you are the successful Bidder. We It is of critical importance that you ensure that you have readily If you wish to bid at the Sale by telephone, please complete a may change the terms of either or both of these agreements available funds to pay the Purchase Price and the Buyer’s Telephone Bidding Form, which is available from our offices or in advance of their being entered into, by setting out different Premium (plus VAT and any other charges and Expenses to us) in the Catalogue. Please then return it to the office responsible terms in the Catalogue and/or by placing an insert in the in full before making a bid for the Lot. If you are a successful for the Sale at least 24 hours in advance of the Sale. It is your Catalogue and/or by notices at the Sale venue and/or by oral Bidder, payment will be due to us by 4.30 pm on the second responsibility to check with our Bids Office that your bid has announcements before and during the Sale. You should be working day after the Sale so that all sums are cleared by been received. Telephone calls will be recorded. The telephone alert to this possibility of changes and ask if there have been the eighth working day after the Sale. Unless agreed by us in bidding facility is a discretionary service and may not be any. advance payments made by anyone other than the registered available in relation to all Lots. We will not be responsible for Buyer will not be accepted. Payment will have to be by one of bidding on your behalf if you are unavailable at the time of 7. BUYER’S PREMIUM AND OTHER CHARGES the following methods (all cheques should be made payable to the Sale or if the telephone connection is interrupted during PAYABLE BY THE BUYER Bonhams 1793 Limited). Bonhams reserves the right to vary the bidding. Please contact us for further details. terms of payment at any time. Under the Buyer’s Agreement, a premium (the Buyer’s Bidding by post or fax Premium) is payable to us by the Buyer in accordance with the Sterling personal cheque drawn on a UK branch of a bank Absentee Bidding Forms can be found in the back of this terms of the Buyer’s Agreement and at rates set out below, or building society: all cheques must be cleared before you Catalogue and should be completed and sent to the office calculated by reference to the Hammer Price and payable in can collect your purchases; responsible for the Sale. It is in your interests to return your addition to it. Storage charges and Expenses are also payable form as soon as possible, as if two or more Bidders submit by the Buyer as set out in the Buyer’s Agreement. All the sums Bankers draft/building society cheque: if you can provide identical bids for a Lot, the first bid received takes preference. payable to us by the Buyer are subject to VAT. For this Sale the suitable proof of identity and we are satisfied as to the In any event, all bids should be received at least 24 hours following rates of Buyer’s Premium will be payable by Buyers genuineness of the draft or cheque, we will allow you to collect before the start of the Sale. Please check your Absentee of Lots: your purchases immediately; Bidding Form carefully before returning it to us, fully completed 25% up to £25,000 of the Hammer Price and signed by you. It is your responsibility to check with our Cash: you may pay for Lots purchased by you at this Sale with 20% from £25,001 of the Hammer Price Bids Office that your bid has been received. This additional notes, coins or travellers cheques in the currency in which 12% from £500,001 of the Hammer Price service is complimentary and is confidential. Such bids are the Sale is conducted (but not any other currency) provided made at your own risk and we cannot accept liability for our that the total amount payable by you in respect of all Lots On certain Lots, which will be marked “AR” in the Catalogue failure to receive and/or place any such bids. All bids made purchased by you at the Sale does not exceed £5,000, or the and which are sold for a Hammer Price of €1,000 or greater on your behalf will be made at the lowest level possible equivalent in the currency in which the Sale is conducted, at (converted into the currency of the Sale using the European subject to Reserves and other bids made for the Lot. Where the time when payment is made. If the amount payable by you Central Bank Reference rate prevailing on the date of the Sale), appropriate your bids will be rounded down to the nearest for Lots exceeds that sum, the balance must be paid otherwise the Additional Premium will be payable to us by the Buyer to amount consistent with the Auctioneer’s bidding increments. than in coins, notes or travellers cheques; cover our Expenses relating to the payment of royalties under New Bidders must also provide proof of identity and address the Artists Resale Right Regulations 2006. The Additional when submitting bids. Failure to do this will result in your bid Sterling travellers cheques: you may pay for Lots purchased Premium will be a percentage of the amount of the Hammer not being placed. by you at this Sale with travellers cheques, provided the total Price calculated in accordance with the table below, and shall amount payable by you in respect of all Lots purchased by you not exceed €12,500 (converted into the currency of the Sale Bidding via the internet at the Sale does not exceed £5,000. We will need to see your using the European Central Bank Reference rate prevailing on Please visit our Website at http://www.bonhams.com for passport if you wish to pay using travellers cheques; the date of the Sale). details of how to bid via the internet. Hammer Price Percentage amount Bank transfer: you may electronically transfer funds to our Bidding through an agent From €0 to €50,000 4% Trust Account. If you do so, please quote your paddle number Bids will be accepted as placed on behalf of the person named From €50,000.01 to €200,000 3% and invoice number as the reference. Our Trust Account details as the principal on the Bidding Form although we may refuse From €200,000.01 to €350,000 1% are as follows: to accept bids from an agent on behalf of a principal and will From €350,000.01 to €500,000 0.5% Bank: National Westminster Bank Plc require written confirmation from the principal confirming Exceeding €500,000 0.25% Address: PO Box 4RY the agent’s authority to bid. Nevertheless, as the Bidding 250 Regent Street Form explains, any person placing a bid as agent on behalf 8. VAT London W1A 4RY of another (whether or not he has disclosed that fact or the Account Name: Bonhams 1793 Limited Trust Account identity of his principal) will be jointly and severally liable with The prevailing rate of VAT at the time of going to press is 20%, Account Number: 25563009 the principal to the Seller and to Bonhams under any contract but this is subject to government change and the rate payable Sort Code: 56-00-27 resulting from the acceptance of a bid. Subject to the above, will be the rate in force on the date of the Sale. IBAN Number: GB 33 NWBK 560027 25563009 please let us know if you are acting on behalf of another person when bidding for Lots at the Sale. The following symbols are used to denote that VAT is due on If paying by bank transfer, the amount received after the the Hammer Price and Buyer’s Premium: deduction of any bank fees and/or conversion of the currency Equally, please let us know if you intend to nominate another † VAT at the prevailing rate on Hammer Price and Buyer’s of payment to pounds sterling must not be less than the person to bid on your behalf at the Sale unless this is to be Premium sterling amount payable, as set out on the invoice. carried out by us pursuant to a Telephone or Absentee Bidding Ω VAT on imported items at the prevailing rate on Hammer Form that you have completed. If we do not approve the Price and Buyer’s Premium Debit cards: there is no additional charge for purchases made agency arrangements in writing before the Sale, we are entitled * VAT on imported items at a preferential rate of 5% on with personal debit cards, issued by a UK bank. Debit cards to assume that the person bidding at the Sale is bidding on his Hammer Price and the prevailing rate on Buyer’s Premium issued by an overseas bank, deferred and company debit cards own behalf. Accordingly, the person bidding at the Sale will and all credit cards will be subject to a 3% surcharge; be the Buyer and will be liable to pay the Hammer Price and Buyer’s Premium and associated charges. If we approve the

NTB/MAIN/11.12 Union Pay cards: these are now accepted at our Knightsbridge indemnity or contribution, or for a restitutionary remedy or posted in the saleroom and available from the department. and New Bond Street offices, when presented in person by the otherwise, our and/or the Seller’s liability (combined, if both Bidders should note that guns are stripped only where there card holder. These cards are subject to a 3% surcharge. we and the Seller are liable) will be limited to payment of a is a strong indication of a mechanical malfunction. Stripping sum which will not exceed by way of maximum the amount is not, otherwise, undertaken. Guns intended for use should Credit cards: Visa and Mastercard only. Please note there is a of the Purchase Price of the Lot irrespective in any case of the be stripped and cleaned beforehand. Hammer guns should 3% surcharge on the total invoice value when payments are nature, volume or source of any loss or damage alleged to be have their rebound mechanisms checked before use. The made using credit cards. It may be advisable to notify your card suffered or sum claimed as due, and irrespective of whether safety mechanisms of all guns must be tested before use. provider of your intended purchase in advance to reduce delays the liability arises from any negligence, other tort, breach All measurements are approximate. caused by us having to seek authority when you come to pay. If of contract (if any) or statutory duty or otherwise. Nothing you have any questions with regard to payment, please contact set out above will be construed as excluding or restricting Original Gun Specifications Derived from Gunmakers our Customer Services Department. (whether directly or indirectly) our liability or excluding or The Sporting Gun Department endeavours to confirm a gun’s restricting any person’s rights or remedies in respect of (i) fraud, original specification and date of manufacture with makers 10. COLLECTION AND STORAGE or (ii) death or personal injury caused by our negligence (or by who hold their original records. the negligence of any person under our control or for whom The Buyer of a Lot will not be allowed to collect it until we are legally responsible), or (iii) acts or omissions for which Licensing Requirements payment in full and in cleared funds has been made (unless we are liable under the Occupiers Liability Act 1957, or (iv) Firearms Act 1968 as amended we have made a special arrangement with the Buyer). For any other liability to the extent the same may not be excluded Bonhams is constantly reviewing its procedures and would collection and removal of purchased Lots, please refer to Sale or restricted as a matter of law or (v) our undertakings under remind you that, in the case of firearms or shotguns subject to Information at the front of the Catalogue. Our offices are paragraphs 9 (in relation to specialist Stamp or Book Sales only) certification, to conform with current legislation, Bonhams is open 9.00am – 5pm Monday to Friday. Details relating to and 10 of the Buyer’s Agreement. The same applies in respect required to see, as appropriate, your original registered firearms the collection of a Lot, the storage of a Lot and our Storage of the Seller, as if references to us in this paragraph were dealer’s certificate / shot gun certificate / firearm certificate / Contractor after the Sale are set out in the Catalogue. substituted with references to the Seller. museum firearms licence / Section 5 authority or import licence (or details of any exemption from which you may benefit, for 11. SHIPPING 15. BOOKS instance Crown servant status) for the firearm(s) you have purchased prior to taking full payment of the amount shown Please refer all enquiries to our shipping department on: As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of Tel: +44 (0)20 7468 8353/8302 Fax: +44 (0)20 7629 9673 to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially Email: [email protected] set out below. However, you will be entitled to reject a Book pay a deposit of 95% of the total invoice with the balance of in the circumstances set out in paragraph 10 of the Buyers 5% payable on presentation of your valid certificate or licence 12. EXPORT/TRADE RESTRICTIONS Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. unframed maps and bound manuscripts are not liable to VAT It is your sole responsibility to comply with all export and on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable to import regulations relating to your purchases and also to obtain produce the correct paperwork, the Lot(s) will be reoffered by any relevant export and/or import licence(s). Export licences are 16. CLOCKS AND WATCHES Bonhams in the next appropriate Sale, on standard terms for issued by Arts Council England and application forms can be Sellers, and you will be responsible for any loss incurred by obtained from its Export Licensing Unit. The detailed provisions All Lots are sold “as is”, and the absence of any reference Bonhams on the original Sale to you. of the export licencing arrangements can be found on the ACE to the condition of a clock or watch does not imply that website http://www.artscouncil.org.uk/about-us/museums- the Lot is in good condition and without defects, repairs or In the case of RFD certificates and Section 5 authorities, we and-libraries/cultural-property/export-controls/export-licensing/ restorations. Most clocks and watches have been repaired in wish to keep an up-to-date copy on file. Please supply us with or by phoning ACE on +44 (0)20 7973 5228. The need for the course of their normal lifetime and may now incorporate a Fax or photocopy. It would be helpful if you could send us an import licences varies from country to country and you should parts not original to them. Furthermore, Bonhams makes updated copy whenever your certificate or authority is renewed acquaint yourself with all relevant local requirements and no representation or warranty that any clock or watch is in or changed. provisions. The refusal of any import or export licence(s) or any working order. As clocks and watches often contain fine and delay in obtaining such licence(s) shall not permit the rescission complex mechanisms, Bidders should be aware that a general Lots marked ‘S1´ and bearing red labels are Section 1 firearms of any Sale nor allow any delay in making full payment for service, change of battery or further repair work, for which the and require a valid British Firearms certificate, RFD Licence or the Lot. Generally, please contact our shipping department Buyer is solely responsible, may be necessary. Bidders should import licence. before the Sale if you require assistance in relation to export be aware that the importation of watches such as Rolex, Frank regulations. Muller and Corum into the United States is highly restricted. Lots marked ‘S2’ and bearing blue labels are Section 2 firearms These watches may not be shipped to the USA and can only be and require a valid British Shotgun certificate, RFD licence or 13. CITES REGULATIONS imported personally. import licence.

Please be aware that all Lots marked with the symbol Y are 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are subject to CITES regulations when exporting these items CERTIFICATION Section 5 prohibited firearms and require a valid Section 5 outside the EU. These regulations may be found at Authority or import licence. http://animalhealth.defra.gov.uk/cites/ or may be requested Proof of Firearms from: The term “proof exemption” indicates that a firearm has Lots marked with a ‘S58´ and bearing yellow labels are for been examined at a Proof House, but not proved, as either obsolete calibres and no licence is required unless ammunition DEFRA, Wildlife Licensing and Registration Service (a) it was deemed of interest and not intended for use, or (b) is held. Floor 1, Zone 17, Temple Quay House ammunition was not available. In either case, the firearm must 2 The Square, Temple Quay be regarded as unsafe to fire unless subsequently proved. Unmarked Lots require no licence. BRISTOL BS1 6EB Firearms proved for Black Powder should not be used with smokeless ammunition. Please do not hesitate to contact the Modern Sporting Gun 14. THE SELLERS AND/OR BONHAMS’ LIABILITY Department should you have any queries. The term “Certificate of Unprovability” indicates that a firearm Other than any liability of the Seller to the Buyer of a Lot has been examined at a Proof House and is deemed both Taxidermy and Related Items under the Contract for Sale, neither we nor the Seller are unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply liable (whether in negligence or otherwise) for any error or such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to misdescription or omission in any Description of a Lot or any inform themselves of all such regulations and should expect Estimate in respect of it, whether contained in the Catalogue Guns Sold as Parts the exportation of items to take some time to arrange. or otherwise, whether given orally or in writing and whether Barrels of guns sold as parts will only be made available for given before or during the Sale. Neither we nor the Seller will sleeving and measurements once rendered unserviceable 18. FURNITURE be liable for any loss of Business, profits, revenue or income, or according to the Gun Barrel Proof Act of 1968 to 1978 and the for loss of reputation, or for disruption to Business or wasted Rules of Proof. Upholstered Furniture time on the part of management or staff, or for indirect losses Whilst we take every care in cataloguing furniture which has or consequential damages of any kind, irrespective in any Condition of Firearms been upholstered we offer no Guarantee as to the originality case of the nature, volume or source of the loss or damage Comment in this Catalogue is restricted, in general, to of the wood covered by fabric or upholstery. alleged to be suffered, and irrespective of whether the said exceptional condition and to those defects that might affect loss or damage is caused by or claimed in respect of any the immediate safety of a firearm in normal use. An intending negligence, other tort, breach of contract (if any) or statutory Bidder unable to make technical examinations and assessments duty, restitutionary claim or otherwise. In any circumstances is recommended to seek advice from a gunmaker or from a where we and/or the Seller are liable in relation to any Lot or modern firearms specialist. All prospective Bidders are advised any Description or Estimate made of any Lot, or the conduct to consult the ˚ of bore and wall-thickness measurements of any Sale in relation to any Lot, whether in damages, for an

NTB/MAIN/11.12 19. JEWELLERY • The date given is that of the image (negative). Where no 24. WINE further date is given, this indicates that the photographic ˜ Ruby and Jadeite print is vintage (the term “vintage” may also be included Lots which are lying under Bond and those liable to VAT may Ruby and jadeite gemstones of Burmese (Myanmar) origin in the Lot Description). A vintage photograph is one which not be available for immediate collection. may not be imported into the US. Rubies and jadeite of was made within approximately 5-10 years of the negative. non–Burmese origin require certification before import Where a second, later date appears, this refers to the date Examining the wines into the US and it is the Buyer’s responsibility to obtain all of printing. Where the exact printing date is not known, but It is occasionally possible to provide a pre-Sale tasting for relevant and required export/import licences, certificates understood to be later, “printed later” will appear in the Lot larger parcels (as defined below). This is generally limited to and documentation before shipping. Failure by the Buyer to Description. more recent and everyday drinking wines. Please contact the successfully import goods into the US does not constitute • Unless otherwise specified, dimensions given are those of department for details. grounds for non payment or cancellation of Sale. Bonhams the piece of paper on which the image is printed, including will not be responsible for any additional costs in this regard any margins. Some photographs may appear in the It is not our policy to inspect every unopened case. In the case howsoever incurred. Catalogue without margins illustrated. of wines older than 20 years the boxes will usually have been • All photographs are sold unframed unless stated in the Lot opened and levels and appearance noted in the Catalogue Gemstones Description. where necessary. You should make proper allowance for Historically many gemstones have been subjected to a variety variations in ullage levels and conditions of corks, capsules of treatments to enhance their appearance. Sapphires and 21. PICTURES and labels. rubies are routinely heat treated to improve their colour and clarity, similarly emeralds are frequently treated with oils or Explanation of Catalogue Terms Corks and Ullages resin for the same purpose. Other treatments such as staining, The following terms used in the Catalogue have the following Ullage refers to the space between the base of the cork and irradiation or coating may have been used on other gemstones. meanings but are subject to the general provisions relating to the wine. Ullage levels for Bordeaux shaped bottles are only These treatments may be permanent, whilst others may need Descriptions contained in the Contract for Sale: normally noted when below the neck and for Burgundy, special care or re-treatment over the years to retain their • “Jacopo Bassano”: in our opinion a work by the artist. Alsace, German and Cognac shaped bottles when greater than appearance. Bidders should be aware that Estimates assume When the artist’s forename(s) is not known, a series of 4 centimetres (cm). Acceptable ullage levels increase with age; that gemstones may have been subjected to such treatments. asterisks, followed by the surname of the artist, whether generally acceptable levels are as follows: A number of laboratories issue certificates that give more preceded by an initial or not, indicates that in our opinion detailed Descriptions of gemstones. However there may not be the work is by the artist named; Under 15 years old – into neck or less than 4cm consensus between different laboratories on the degrees, or • “Attributed to Jacopo Bassano”: in our opinion probably 15 to 30 years old – top shoulder (ts) or up to 5cm types of treatment for any particular gemstone. In the event a work by the artist but less certainty as to authorship is Over 30 years old – high shoulder (hs) or up to 6cm that Bonhams has been given or has obtained certificates expressed than in the preceding category; for any Lot in the Sale these certificates will be disclosed in • “Studio/Workshop of Jacopo Bassano”: in our opinion a It should be noted that ullages may change between the Catalogue. Although, as a matter of policy, Bonhams work by an unknown hand in a studio of the artist which publication of the Catalogue and the Sale and that corks may endeavours to provide certificates from recognised laboratories may or may not have been executed under the artist’s fail as a result of transporting the wine. We will only accept for certain gemstones, it is not feasible to obtain certificates direction; responsibility for Descriptions of condition at the time of for each Lot. In the event that no certificate is published in the • “Circle of Jacopo Bassano”: in our opinion a work by publication of the Catalogue and cannot accept responsibility Catalogue, Bidders should assume that the gemstones may a hand closely associated with a named artist but not for any loss resulting from failure of corks either before or after have been treated. Neither Bonhams nor the Seller accepts any necessarily his pupil; this point. liability for contradictions or differing certificates obtained by • “Follower of Jacopo Bassano”: in our opinion a work by a Buyers on any Lots subsequent to the Sale. painter working in the artist’s style, contemporary or nearly Options to buy parcels contemporary, but not necessarily his pupil; A parcel is a number of Lots of identical size of the same wine, Estimated Weights • “Manner of Jacopo Bassano”: in our opinion a work in the bottle size and Description. The Buyer of any of these Lots has If a stone(s) weight appears within the body of the Description style of the artist and of a later date; the option to accept some or all of the remaining Lots in the in capital letters, the stone(s) has been unmounted and • “After Jacopo Bassano”: in our opinion, a copy of a known parcel at the same price, although such options will be at the weighed by Bonhams. If the weight of the stone(s) is stated work of the artist; Auctioneer’s sole discretion. Absentee Bidders are, therefore, to be approximate and does not appear in capital letters, the • “Signed and/or dated and/or inscribed”: in our opinion the advised to bid on the first Lot in a parcel. stone(s) has been assessed by us within its/their settings, and signature and/or date and/or inscription are from the hand the stated weight is a statement of our opinion only. This of the artist; Wines in Bond information is given as a guide and Bidders should satisfy • “Bears a signature and/or date and/or inscription”: in our Wines lying in Bond are marked Δ and VAT is payable by the themselves with regard to this information as to its accuracy. opinion the signature and/or date and/or inscription have purchaser, at the standard rate, on the Hammer Price, unless been added by another hand. the wines are to remain under Bond. Buyers requiring their Signatures wine to remain in Bond must notify Bonhams at the time of 1. A diamond brooch, by Kutchinsky 22. PORCELAIN AND GLASS the Sale. The Buyer is then himself responsible for all duty, When the maker’s name appears in the title, in Bonhams’ clearance VAT and other charges that may be payable thereon. opinion the piece is by that maker. Damage and Restoration All such Lots must be transferred or collected within two weeks For your guidance, in our Catalogues we detail, as far as of the Sale. 2. A diamond brooch, signed Kutchinsky practicable, recorded all significant defects, cracks and Has a signature that, in Bonhams’ opinion, is authentic but restoration. Such practicable Descriptions of damage cannot Buyers outside the UK must be aware that any forwarding may contain gemstones that are not original, or the piece may be definitive, and in providing Condition Reports, we cannot agent appointed to export their purchases must have a have been altered. Guarantee that there are no other defects present which movement certificate for Lots to be released under Bond. have not been mentioned. Bidders should satisfy themselves 3. A diamond brooch, mounted by Kutchinsky by inspection, as to the condition of each Lot. Please see the Bottling Details and Case Terms Has been created by the jeweller, in Bonhams’ opinion, but Contract for Sale printed in this Catalogue. Because of the The following terms used in the Catalogue have the following using stones or designs supplied by the client. difficulty in determining whether an item of glass has been meanings: repolished, in our Catalogues reference is only made to visible CB – Château bottled 20. PHOTOGRAPHS chips and cracks. No mention is made of repolishing, severe DB – Domaine bottled or otherwise. EstB – Estate bottled Explanation of Catalogue Terms BB – Bordeaux bottled • “Bill Brandt”: in our opinion a work by the artist. 23. VEHICLES BE – Belgian bottled • “Attributed to Bill Brandt”: in our opinion probably a work FB – French bottled by the artist, but less certainty to authorship is expressed The Veteran Car Club of Great Britain GB – German bottled than in the preceding category. OB – Oporto bottled • “Signed and/or titled and/or dated and/or inscribed”: in Dating Plates and Certificates UK – United Kingdom bottled our opinion the signature and/or title and/or date and/or When mention is made of a Veteran Car Club Dating Plate or owc – original wooden case inscription are in the artist’s hand. Dating Certificate in thisCatalogue , it should be borne in mind iwc – individual wooden case • “Signed and/or titled and/or dated and/or inscribed in that the Veteran Car Club of Great Britain using the services of oc – original carton another hand”: in our opinion the signature and/or title Veteran Car Company Ltd, does from time to time, review cars and/or date and/or inscription have been added by already dated and, in some instances, where fresh evidence another hand. becomes available, the review can result in an alteration of date. Whilst the Club and Veteran Car Company Ltd make every effort to ensure accuracy, the date shown on the Dating Plate or Dating Certificate cannot be guaranteed as correct and intending purchasers should make their own enquiries as to the date of the car.

NTB/MAIN/11.12 SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any undertaking, whether implied by the Sale of Goods THE FOLLOWING SYMBOLS ARE USED TO DENOTE 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality of the Lot or its fitness for any purpose. Y Subject to CITES regulations when exporting these items 2.1.1 the Seller is the owner of the Lot or is duly authorised outside the EU, see clause 13. to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE W Objects displayed with a w will be located in the Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked collection from this location. Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s ≈ Please note that as a result of recent legislation ruby and guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will not jadeite gem stones of Burmese (Myanmar) origin may liquidator, receiver or administrator, with whatever be responsible thereafter for the Lot prior to not be imported into the US. Rubies and jadeite of non- right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage Burmese origin require certification before import into the Contractor, with whom you have separate contract(s) US. 2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the Δ Wines lying in Bond. liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims, AR An Additional Premium will be payable to us by the Buyer legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in to cover our Expenses relating to payment of royalties of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the under the Artists Resale Right Regulations 2006. See and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until clause 7 for details. the terms implied by the Sale of Goods Act 1979, you obtain full title to it. ○ The Seller has been guaranteed a minimum price for the Sections 12(1) and 12(2) (see the Definitions and Lot, either by Bonhams or a third party. This may take Glossary); 5.2 Title to the Lot remains in and is retained by the the form of an irrevocable bid by a third party, who may Seller until the Purchase Price and all other sums make a financial gain on a successful Sale or a financial 2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot loss if unsuccessful. otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared ▲ Bonhams owns the Lot either wholly or partially or may and all duties and taxes in respect of the export or funds by, Bonhams. otherwise have an economic interest. import of the Lot have (unless stated to the contrary in the Catalogue or announced by the Auctioneer) 6 PAYMENT •, †, *, G, Ω, a, § see clause 8, VAT, for details. been paid and, so far as the Seller is aware, all third parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises when DATA PROTECTION – USE OF YOUR INFORMATION the past; the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. Where we obtain any personal information about you, we shall 2.1.5 subject to any alterations expressly identified as such only use it in accordance with the terms of our Privacy Policy made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment (subject to any additional specific consent(s) you may have or by the Notice to Bidders or by an insert in the of the Purchase Price and all other sums payable by given at the time your information was disclosed). A copy of Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you our Privacy Policy can be found on our Website www.bonhams. Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case com or requested by post from Customer Services Department, about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement), 101 New Bond Street, London, W1S 1SR or by email from letters and (except for colour) with any photograph all such sums must be paid to Bonhams by you in [email protected] of the Lot in the Catalogue and the contents of the currency in which the Sale was conducted by any Condition Report which has been provided to not later than 4.30pm on the second working day APPENDIX 1 the Buyer. following the Sale and you must ensure that the funds are cleared by the seventh working day after CONTRACT FOR SALE 3 DESCRIPTIONS OF THE LOT the Sale. Payment must be made to Bonhams by one of the methods stated in the Notice to Bidders unless IMPORTANT: These terms may be changed in advance of the 3.1 Paragraph 2.1.5 sets out what is the Contractual otherwise agreed with you in writing by Bonhams. If Sale of the Lot to you, by the setting out of different terms in Description of the Lot. In particular, the Lot is not you do not pay any sums due in accordance with this the Catalogue for the Sale and/or by placing an insert in the sold as corresponding with that part of the Entry in paragraph, the Seller will have the rights set out in Catalogue and/or by notices at the Sale venue and/or by oral the Catalogue which is not printed in bold letters, paragraph 8 below. announcements before and during the Sale at the Sale venue. which merely sets out (on the Seller’s behalf) You should be alert to this possibility of changes and ask in Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT advance of bidding if there have been any. part of the Contractual Description upon which the Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by Under this contract the Seller’s liability in respect of the quality than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your of the Lot, it’s fitness for any purpose and its conformity with 2.1.5 (together with any express alteration to it order only when Bonhams has received cleared funds any Description is limited. You are strongly advised to examine as referred to in paragraph 2.1.5), including any to the amount of the full Purchase Price and all other the Lot for yourself and/or obtain an independent examination Description or Estimate, whether made orally or in sums owed by you to the Seller and to Bonhams. of it before you buy it. writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise, and whether 7.2 The Seller is entitled to withhold possession from you 1 THE CONTRACT by or on behalf of the Seller or Bonhams and of any other Lot he has sold to you at the same or whether made prior to or during the Sale, is not part at any other Sale and whether currently in Bonhams’ 1.1 These terms govern the Contract for Sale of the Lot of the Contractual Description upon which the Lot is possession or not until payment in full and in cleared by the Seller to the Buyer. sold. funds of the Purchase Price and all other sums due to the Seller and/or Bonhams in respect of the Lot. 1.2 The Definitions and Glossary contained in Appendix 3 3.2 Except as provided in paragraph 2.1.5, the Seller in the Catalogue are incorporated into this Contract does not make or give and does not agree to make 7.3 You will collect and remove the Lot at your own for Sale and a separate copy can also be provided or give any contractual promise, undertaking, expense from Bonhams’ custody and/ or control or by Bonhams on request. Where words and phrases obligation, guarantee, warranty, or representation from the Storage Contractor’s custody in accordance are used which are in the List of Definitions, they are of fact, or undertake any duty of care, in relation to with Bonhams’ instructions or requirements. printed in italics. any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any 7.4 You will be wholly responsible for packing, handling 1.3 The Seller sells the Lot as the principal to the Description or Estimate which may have been made and transport of the Lot on collection and for Contract for Sale, such contract being made between by or on behalf of the Seller including by Bonhams. complying with all import or export regulations in the Seller and you through Bonhams which acts in No such Description or Estimate is incorporated into connection with the Lot. the sole capacity as the Seller’s agent and not as this Contract for Sale. an additional principal. However, if the Catalogue 7.5 You will be wholly responsible for any removal, states that Bonhams sells the Lot as principal, or such 4 FITNESS FOR PURPOSE AND SATISFACTORY storage or other charges or Expenses incurred a statement is made by an announcement by the QUALITY by the Seller if you do not remove the Lot in Auctioneer, or by a notice at the Sale, or an insert accordance with this paragraph 7 and will in the Catalogue, then Bonhams is the Seller for the 4.1 The Seller does not make and does not agree indemnify the Seller against all charges, costs, purposes of this agreement. to make any contractual promise, undertaking, including any legal costs and fees, Expenses and obligation, guarantee, warranty, or representation of losses suffered by the Seller by reason of your 1.4 The contract is made on the fall of the Auctioneer’s fact in relation to the satisfactory quality of the Lot or failure to remove the Lot including any charges hammer in respect of the Lot when it is knocked its fitness for any purpose. due under any Storage Contract. All such sums down to you. due to the Seller will be payable on demand.

NTB/MAIN/11.12 8 FAILURE TO PAY FOR THE LOT all sums due to the Seller and to Bonhams, within waiver given to you in writing. Any such waiver will 28 days of receipt of such monies by him or on his not affect the Seller’s ability subsequently to enforce 8.1 If the Purchase Price for a Lot is not paid to Bonhams behalf. any right arising under the Contract for Sale. in full in accordance with the Contract for Sale the Seller will be entitled, with the prior written 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented agreement of Bonhams but without further notice to from performing that party’s respective obligations you, to exercise one or more of the following rights 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances beyond (whether through Bonhams or otherwise): damage caused by the Lot after the fall of the its reasonable control or if performance of its Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances 8.1.1 to terminate immediately the Contract for Sale of the give rise to a significantly increased financial Lot for your breach of contract; 9.2 Subject to paragraph 9.3 below, except for breach cost to it, that party will not, for so long as such of the express undertaking provided in paragraph circumstances prevail, be required to perform such 8.1.2 to resell the Lot by auction, private treaty or any 2.1.5, the Seller will not be liable for any breach obligations. This paragraph does not apply to the other means on giving seven days’ written notice to of any term that the Lot will correspond with any obligations imposed on you by paragraph 6. you of the intention to resell; Description applied to it by or on behalf of the Seller, whether implied by the Sale of Goods Act 1979 or 10.4 Any notice or other communication to be given 8.1.3 to retain possession of the Lot; otherwise. under the Contract for Sale must be in writing and may be delivered by hand or sent by first class 8.1.4 to remove and store the Lot at your expense; 9.3 Unless the Seller sells the Lot in the course of a post or air mail or fax transmission, if to the Seller, Business and the Buyer buys it as a Consumer, addressed c/o Bonhams at its address or fax number 8.1.5 to take legal proceedings against you for any sum in the Catalogue (marked for the attention of the due under the Contract for Sale and/or damages for 9.3.1 the Seller will not be liable (whether in negligence, Company Secretary), and if to you to the address or breach of contract; other tort, breach of contract or statutory duty or in fax number of the Buyer given in the Bidding Form restitution or under the Misrepresentation Act 1967, (unless notice of any change of address is given in 8.1.6 to be paid interest on any monies due (after as well or in any other way) for any lack of conformity with, writing). It is the responsibility of the sender of the as before judgement or order) at the annual rate or inaccuracy, error, misdescription or omission in notice or communication to ensure that it is received of 5% per annum above the base rate of National any Description of the Lot or any Entry or Estimate in a legible form within any applicable time period. Westminster Bank Plc from time to time to be in relation to the Lot made by or on behalf of calculated on a daily basis from the date upon which the Seller (whether made in writing, including in 10.5 If any term or any part of any term of the Contract such monies become payable until the date of actual the Catalogue, or on the Website, or orally, or by for Sale is held to be unenforceable or invalid, such payment; conduct or otherwise) and whether made before or unenforceability or invalidity will not affect the after this agreement or prior to or during the Sale; enforceability and validity of the remaining terms or 8.1.7 to repossess the Lot (or any part thereof) which has the remainder of the relevant term. not become your property, and for this purpose 9.3.2 the Seller will not be liable for any loss of Business, (unless the Buyer buys the Lot as a Consumer from Business profits or revenue or income or for loss of 10.6 References in the Contract for Sale to Bonhams will, the Seller selling in the course of a Business) you reputation or for disruption to Business or wasted where appropriate, include reference to Bonhams’ hereby grant an irrevocable licence to the Seller by time on the part of the Buyer or of the Buyer’s officers, employees and agents. himself and to his servants or agents to enter upon management or staff or, for any indirect losses or all or any of your premises (with or without vehicles) consequential damages of any kind, irrespective in 10.7 The headings used in the Contract for Sale during normal Business hours to take possession of any case of the nature, volume or source of the loss are for convenience only and will not affect its the Lot or part thereof; or damage alleged to be suffered, and irrespective interpretation. of whether the said loss or damage is caused by 8.1.8 to retain possession of any other property sold to you or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means by the Seller at the Sale or any other auction or by breach of contract, statutory duty, restitutionary “including, without limitation”. private treaty until all sums due under the Contract claim or otherwise; for Sale shall have been paid in full in cleared funds; 10.9 References to the singular will include reference to 9.3.3 in any circumstances where the Seller is liable to you the plural (and vice versa) and reference to any one 8.1.9 to retain possession of, and on three months’ written in respect of the Lot, or any act, omission, statement, gender will include reference to the other genders. notice to sell, Without Reserve, any of your other or representation in respect of it, or this agreement property in the possession of the Seller and/or of or its performance, and whether in damages, for 10.10 Reference to a numbered paragraph is to a Bonhams (as bailee for the Seller) for any purpose an indemnity or contribution or for a restitutionary paragraph of the Contract for Sale. (including, without limitation, other goods sold to remedy or in any way whatsoever, the Seller’s liability you) and to apply any monies due to you as a result will be limited to payment of a sum which will not 10.11 Save as expressly provided in paragraph 10.12 of such Sale in satisfaction or part satisfaction of any exceed by way of maximum the amount of the nothing in the Contract for Sale confers (or purports amounts owed to the Seller or to Bonhams; and Purchase Price of the Lot irrespective in any case of to confer) on any person who is not a party to the the nature, volume or source of any loss or damage Contract for Sale any benefit conferred by, or the 8.1.10 so long as such goods remain in the possession of alleged to be suffered or sum claimed as due, and right to enforce any term of, the Contract for Sale. the Seller or Bonhams as its bailee, to rescind the irrespective of whether the liability arises from any contract for the Sale of any other goods sold to negligence, other tort, breach of contract, statutory 10.12 Where the Contract for Sale confers an immunity you by the Seller at the Sale or at any other auction duty, bailee’s duty, restitutionary claim or otherwise. from, and/or an exclusion or restriction of, the or by private treaty and apply any monies received responsibility and/or liability of the Seller, it will also from you in respect of such goods in part or full 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will operate in favour and for the benefit ofBonhams, satisfaction of any amounts owed to the Seller or to be construed as excluding or restricting (whether Bonhams’ holding company and the subsidiaries Bonhams by you. directly or indirectly) any person’s liability or excluding of such holding company and the successors and or restricting any person’s rights or remedies in assigns of Bonhams and of such companies and of 8.2 You agree to indemnify the Seller against all legal respect of (i) fraud, or (ii) death or personal injury any officer, employee and agent of Bonhams and and other costs of enforcement, all losses and other caused by the Seller’s negligence (or any person such companies, each of whom will be entitled to Expenses and costs (including any monies payable under the Seller’s control or for whom the Seller is rely on the relevant immunity and/or exclusion and/or to Bonhams in order to obtain the release of the legally responsible), or (iii) acts or omissions for which restriction within and for the purposes of Contracts Lot) incurred by the Seller (whether or not court the Seller is liable under the Occupiers Liability Act (Rights of Third Parties) Act 1999, which enables the proceedings will have been issued) as a result of 1957, or (iv) any other liability to the extent the same benefit of a contract to be extended to a person who Bonhams taking steps under this paragraph 8 on a may not be excluded or restricted as a matter of law. is not a party to the contract, and generally at law. full indemnity basis together with interest thereon (after as well as before judgement or order) at the 10 MISCELLANEOUS rate specified in paragraph 8.1.6 from the date upon which the Seller becomes liable to pay the same until 10.1 You may not assign either the benefit or burden of payment by you. the Contract for Sale.

8.3 On any resale of the Lot under paragraph 8.1.2, the 10.2 The Seller’s failure or delay in enforcing or exercising Seller will account to you in respect of any balance any power or right under the Contract for Sale will remaining from any monies received by him or on not operate or be deemed to operate as a waiver of his behalf in respect of the Lot, after the payment of his rights under it except to the extent of any express

NTB/MAIN/11.12 11 GOVERNING LAW writing, including in the Catalogue or on Bonhams’ 4.2 You must collect and remove the Lot at your own Website, or by conduct, or otherwise), and whether expense by the date and time specified in the Notice All transactions to which the Contract for Sale applies made before or after this agreement or prior to or to Bidders, or if no date is specified, by 4.30pm on and all connected matters will be governed by and during the Sale. No such Description or Estimate is the seventh day after the Sale. construed in accordance with the laws of that part incorporated into this agreement between you and of the United Kingdom where the Sale takes place us. Any such Description or Estimate, if made by us 4.3 For the period referred to in paragraph 4.2, the Lot and the Seller and you each submit to the exclusive or on our behalf, was (unless Bonhams itself sells can be collected from the address referred to in the jurisdiction of the courts of that part of the United the Lot as principal) made as agent on behalf of the Notice to Bidders for collection on the days and times Kingdom, save that the Seller may bring proceedings Seller. specified in the Notice to Bidders. Thereafter, the against you in any other court of competent Lot may be removed elsewhere for storage and you jurisdiction to the extent permitted by the laws of 2 PERFORMANCE OF THE CONTRACT FOR SALE must enquire from us as to when and where you can the relevant jurisdiction. Bonhams has a complaints collect it, although this information will usually be set procedure in place. You undertake to us personally that you will out in the Notice to Bidders. observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale 4.4 If you have not collected the Lot by the date specified APPENDIX 2 in respect of the Lot. in the Notice to Bidders, you authorise us, acting as your agent and on your behalf, to enter into a BUYER’S AGREEMENT 3 PAYMENT contract (the “Storage Contract”) with the Storage Contractor for the storage of the Lot on the then IMPORTANT: These terms may be changed in advance of the 3.1 Unless agreed in writing between you and us or as current standard terms and conditions agreed Sale of the Lot to you, by the setting out of different terms in otherwise set out in the Notice to Bidders, you must between Bonhams and the Storage Contractor the Catalogue for the Sale and/or by placing an insert in the pay to us by not later than 4.30pm on the second (copies of which are available on request). If the Lot Catalogue and/or by notices at the Sale venue and/or by oral working day following the Sale: is stored at our premises storage fees at our current announcements before and during the Sale at the Sale venue. daily rates (currently a minimum of £3 plus VAT per You should be alert to this possibility of changes and ask in 3.1.1 the Purchase Price for the Lot; Lot per day) will be payable from the expiry of the advance of bidding if there have been any. period referred to in paragraph 4.2. These storage 3.1.2 a Buyer’s Premium in accordance with the rates set fees form part of our Expenses. 1 THE CONTRACT out in the Notice to Bidders, and 4.5 Until you have paid the Purchase Price and any 1.1 These terms govern the contract between Bonhams 3.1.3 if the Lot is marked [AR], an Additional Premium Expenses in full the Lot will either be held by us as personally and the Buyer, being the person to whom which is calculated and payable in accordance with agent on behalf of the Seller or held by the Storage a Lot has been knocked down by the Auctioneer. the Notice to Bidders together with VAT on that sum Contractor as agent on behalf of the Seller and if applicable so that all sums due to us are cleared ourselves on the terms contained in the Storage 1.2 The Definitions and Glossary contained in Appendix funds by the seventh working day after the Sale. Contract. 3 to the Catalogue for the Sale are incorporated into this agreement and a separate copy can also 3.2 You must also pay us on demand any Expenses 4.6 You undertake to comply with the terms of any be provided by us on request. Where words and payable pursuant to this agreement. Storage Contract and in particular to pay the charges phrases which are defined in the List of Definitions (and all costs of moving the Lot into storage) due are used in this agreement, they are printed in italics. 3.3 All payments to us must be made in the currency under any Storage Contract. You acknowledge and Reference is made in this agreement to information in which the Sale was conducted, using, unless agree that you will not be able to collect the Lot from printed in the Notice to Bidders, printed in the otherwise agreed by us in writing, one of the the Storage Contractor’s premises until you have paid Catalogue for the Sale, and where such information methods of payment set out in the Notice to the Purchase Price, any Expenses and all charges due is referred to it is incorporated into this agreement. Bidders. Our invoices will only be addressed to the under the Storage Contract. registered Bidder unless the Bidder is acting as an 1.3 Except as specified in paragraph 4 of the Notice to agent for a named principal and we have approved 4.7 You will be wholly responsible for packing, handling Bidders the Contract for Sale of the Lot between you that arrangement, in which case we will address the and transport of the Lot on collection and for and the Seller is made on the fall of the Auctioneer’s invoice to the principal. complying with all import or export regulations in hammer in respect of the Lot, when it is knocked connection with the Lot. down to you. At that moment a separate contract is 3.4 Unless otherwise stated in this agreement all also made between you and Bonhams on the terms sums payable to us will be subject to VAT at the 4.8 You will be wholly responsible for any removal, in this Buyer’s Agreement. appropriate rate and VAT will be payable by you on storage, or other charges for any Lot not removed all such sums. in accordance with paragraph 4.2, payable at our 1.4 We act as agents for the Seller and are not current rates, and any Expenses we incur (including answerable or personally responsible to you for any 3.5 We may deduct and retain for our own benefit from any charges due under the Storage Contract), all of breach of contract or other default by the Seller, the monies paid by you to us the Buyer’s Premium, which must be paid by you on demand and in any unless Bonhams sells the Lot as principal. the Commission payable by the Seller in respect event before any collection of the Lot by you or on of the Lot, any Expenses and VAT and any interest your behalf. 1.5 Our personal obligations to you are governed by this earned and/or incurred until payment to the Seller. agreement and we agree, subject to the terms below, 5 STORING THE LOT to the following obligations: 3.6 Time will be of the essence in relation to any payment payable to us. If you do not pay the We agree to store the Lot until the earlier of your 1.5.1 we will, until the date and time specified in the Purchase Price, or any other sum due to us in removal of the Lot or until the time and date set out Notice to Bidders or otherwise notified to you, store accordance with this paragraph 3, we will have the in the Notice to Bidders, on the Sale Information the Lot in accordance with paragraph 5; rights set out in paragraph 7 below. Page or at the back of the catalogue (or if no date is specified, by 4.30pm on the seventh day after the 1.5.2 subject to any power of the Seller or us to refuse to 3.7 Where a number of Lots have been knocked down to Sale) and, subject to paragraphs 6 and 10, to be release the Lot to you, we will release the Lot to you you, any monies we receive from you will be applied responsible as bailee to you for damage to or the loss in accordance with paragraph 4 once you have paid firstly pro-rata to pay the Purchase Price of each Lot or destruction of the Lot (notwithstanding that it is to us, in cleared funds, everything due to us and the and secondly pro-rata to pay all amounts due to not your property before payment of the Purchase Seller; Bonhams. Price). If you do not collect the Lot before the time and date set out in the Notice to Bidders (or if no 1.5.3 we will provide guarantees in the terms set out in 4 COLLECTION OF THE LOT date is specified, by 4.30pm on the seventh day paragraphs 9 and 10. after the Sale) we may remove the Lot to another 4.1 Subject to any power of the Seller or us to refuse location, the details of which will usually be set out 1.6 We do not make or give and do not agree to make to release the Lot to you, once you have paid to us, in the relevant section of the Catalogue. If you have or give any contractual promise, undertaking, in cleared funds, everything due to the Seller and not paid for the Lot in accordance with paragraph 3, obligation, Guarantee, warranty, representation of to us, we will release the Lot to you or as you may and the Lot is moved to any third party’s premises, fact in relation to any Description of the Lot or any direct us in writing. The Lot will only be released on the Lot will be held by such third party strictly to Estimate in relation to it, nor of the accuracy or production of a buyer collection document, obtained Bonhams’ order and we will retain our lien over the completeness of any Description or Estimate which from our cashier’s office. Lot until we have been paid in full in accordance with may have been made by us or on our behalf or by paragraph 3. or on behalf of the Seller (whether made orally or in

NTB/MAIN/11.12 6 RESPONSIBILITY FOR THE LOT 7.2 You agree to indemnify us against all legal and other 9.2.2 you notify us in writing as soon as reasonably costs, all losses and all other Expenses (whether or practicable after you have become aware that the Lot 6.1 Only on the payment of the Purchase Price to us not court proceedings will have been issued) incurred is or may be a Forgery, and in any event within one will title in the Lot pass to you. However under the by us as a result of our taking steps under this year after the Sale, that the Lot is a Forgery; and Contract for Sale, the risk in the Lot passed to you paragraph 7 on a full indemnity basis together with when it was knocked down to you. interest thereon (after as well as before judgement or 9.2.3 within one month after such notification has been order) at the rate specified in paragraph 7.1.5 from given, you return the Lot to us in the same condition 6.2 You are advised to obtain insurance in respect of the the date upon which we become liable to pay the as it was at the time of the Sale, accompanied by Lot as soon as possible after the Sale. same until payment by you. written evidence that the Lot is a Forgery and details of the Sale and Lot number sufficient to identify the 7 FAILURE TO PAY OR TO REMOVE THE LOT 7.3 If you pay us only part of the sums due to us such Lot. AND PART PAYMENTS payment shall be applied firstly to the Purchase Price of the Lot (or where you have purchased more than 9.3 Paragraph 9 will not apply in respect of a Forgery if: 7.1 If all sums payable to us are not so paid in full at the one Lot pro-rata towards the Purchase Price of each time they are due and/or the Lot is not removed in Lot) and secondly to the Buyer’s Premium (or where 9.3.1 the Entry in relation to the Lot contained in the accordance with this agreement, we will without you have purchased more than one Lot pro-rata to Catalogue reflected the then accepted general further notice to you be entitled to exercise one or the Buyer’s Premium on each Lot) and thirdly to any opinion of scholars and experts or fairly indicated more of the following rights (without prejudice to other sums due to us. that there was a conflict of such opinion or reflected any rights we may exercise on behalf of the Seller): the then current opinion of an expert acknowledged 7.4 We will account to you in respect of any balance we to be a leading expert in the relevant field; or 7.1.1 to terminate this agreement immediately for your hold remaining from any monies received by us in breach of contract; respect of any Sale of the Lot under our rights under 9.3.2 it can be established that the Lot is a Forgery only this paragraph 7 after the payment of all sums due to by means of a process not generally accepted for 7.1.2 to retain possession of the Lot; us and/or the Seller within 28 days of receipt by us of use until after the date on which the Catalogue was all such sums paid to us. published or by means of a process which it was 7.1.3 to remove, and/or store the Lot at your expense; unreasonable in all the circumstances for us to have 8 CLAIMS BY OTHER PERSONS IN RESPECT OF employed. 7.1.4 to take legal proceedings against you for payment THE LOT of any sums payable to us by you (including the 9.4 You authorise us to carry out such processes and Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot tests on the Lot as we in our absolute discretion contract; is the subject of a claim by someone other than consider necessary to satisfy ourselves that the Lot is you and other than the Seller (or that such a claim or is not a Forgery. 7.1.5 to be paid interest on any monies due to us (after can reasonably be expected to be made), we may, as well as before judgement or order) at the annual at our absolute discretion, deal with the Lot in 9.5 If we are satisfied that a Lot is a Forgery we will (as rate of 5% per annum above the base lending rate any manner which appears to us to recognise the principal) purchase the Lot from you and you will of National Westminster Bank Plc from time to time legitimate interests of ourselves and the other parties transfer the title to the Lot in question to us, with to be calculated on a daily basis from the date upon involved and lawfully to protect our position and full title guarantee, free from any liens, charges, which such monies become payable until the date of our legitimate interests. Without prejudice to the encumbrances and adverse claims, in accordance actual payment; generality of the discretion and by way of example, with the provisions of Sections 12(1) and 12(2) of we may: the Sale of Goods Act 1979 and we will pay to you 7.1.6 to repossess the Lot (or any part thereof) which has an amount equal to the sum of the Purchase Price, not become your property, and for this purpose 8.1.1 retain the Lot to investigate any question raised or Buyer’s Premium, VAT and Expenses paid by you in (unless you buy the Lot as a Consumer) you hereby reasonably expected by us to be raised in relation to respect of the Lot. grant an irrevocable licence to us, by ourselves, our the Lot; and/or servants or agents, to enter upon all or any of your 9.6 The benefit of paragraph 9 is personal to, and premises (with or without vehicles) during normal 8.1.2 deliver the Lot to a person other than you; and/or incapable of assignment by, you. business hours to take possession of any Lot or part thereof; 8.1.3 commence interpleader proceedings or seek any 9.7 If you sell or otherwise dispose of your interest in the other order of any court, mediator, arbitrator or Lot, all rights and benefits under this paragraph will 7.1.7 to sell the Lot Without Reserve by auction, private government body; and/or cease. treaty or any other means on giving you three months’ written notice of our intention to do so; 8.1.4 require an indemnity and/or security from you in 9.8 Paragraph 9 does not apply to a Lot made up of or return for pursuing a course of action agreed to by including a Chinese painting or Chinese paintings, a 7.1.8 to retain possession of any of your other property in you. motor vehicle or motor vehicles, a Stamp or Stamps our possession for any purpose (including, without or a Book or Books. limitation, other goods sold to you or with us for 8.2 The discretion referred to in paragraph 8.1: Sale) until all sums due to us have been paid in full; 10 OUR LIABILITY 8.2.1 may be exercised at any time during which we have 7.1.9 to apply any monies received from you for any actual or constructive possession of the Lot, or at 10.1 We will not be liable whether in negligence, other purpose whether at the time of your default or at any time after such possession, where the cessation tort, breach of contract or statutory duty or in any time thereafter in payment or part payment of of such possession has occurred by reason of any restitution or under the Misrepresentation Act 1967 any sums due to us by you under this agreement; decision, order or ruling of any court, mediator, or in any other way for lack of conformity with or arbitrator or government body; and any inaccuracy, error, misdescription or omission in 7.1.10 on three months’ written notice to sell, Without any Description of the Lot or any Entry or Estimate Reserve, any of your other property in our possession 8.2.2 will not be exercised unless we believe that there in respect of it, made by us or on our behalf or by or under our control for any purpose (including other exists a serious prospect of a good arguable case in or on behalf of the Seller (whether made in writing, goods sold to you or with us for Sale) and to apply favour of the claim. including in the Catalogue, or on the Bonhams’ any monies due to you as a result of such Sale in Website, or orally, or by conduct or otherwise) and payment or part payment of any amounts owed to 9 FORGERIES whether made before or after this agreement or prior us; to or during the Sale. 9.1 We undertake a personal responsibility for any 7.1.11 refuse to allow you to register for a future Sale or to Forgery in accordance with the terms of this 10.2 Our duty to you while the Lot is at your risk and/or reject a bid from you at any future Sale or to require paragraph 9. your property and in our custody and/or control is to you to pay a deposit before any bid is accepted by us exercise reasonable care in relation to it, but we will at any future Sale in which case we will be entitled 9.2 Paragraph 9 applies only if: not be responsible for damage to the Lot or to other to apply such deposit in payment or part payment, as persons or things caused by: the case may be, of the Purchase Price of any Lot of 9.2.1 your name appears as the named person to whom which you are the Buyer. the original invoice was made out by us in respect of 10.2.1 handling the Lot if it was affected at the time of Sale the Lot and that invoice has been paid; and to you by woodworm and any damage is caused as a result of it being affected by woodworm; or

NTB/MAIN/11.12 10.2.2 changes in atmospheric pressure; nor will we be 11.4 Any notice or other communication to be given APPENDIX 3 liable for: under this agreement must be in writing and may be delivered by hand or sent by first class post or DEFINITIONS AND GLOSSARY 10.2.3 damage to tension stringed musical instruments; or air mail or fax transmission (if to Bonhams marked for the attention of the Company Secretary), to the Where these Definitions and Glossary are incorporated, the 10.2.4 damage to gilded picture frames, plaster picture address or fax number of the relevant party given following words and phrases used have (unless the context frames or picture frame glass; and if the Lot is or in the Contract Form (unless notice of any change otherwise requires) the meanings given to them below. The becomes dangerous, we may dispose of it without of address is given in writing). It is the responsibility Glossary is to assist you to understand words and phrases notice to you in advance in any manner we think fit of the sender of the notice or communication to which have a specific legal meaning with which you may not and we will be under no liability to you for doing so. ensure that it is received in a legible form within any be familiar. applicable time period. 10.3.1 We will not be liable to you for any loss of Business, LIST OF DEFINITIONS Business profits, revenue or income or for loss of 11.5 If any term or any part of any term of this agreement Business reputation or for disruption to Business or is held to be unenforceable or invalid, such “Additional Premium” a premium, calculated in accordance wasted time on the part of the Buyer’s management unenforceability or invalidity will not affect the with the Notice to Bidders, to cover Bonhams’ Expenses or staff or, if you are buying the Lot in the course of enforceability and validity of the remaining terms or relating to the payment of royalties under the Artists Resale a Business, for any indirect losses or consequential the remainder of the relevant term. Right Regulations 2006 which is payable by the Buyer to damages of any kind, irrespective in any case of Bonhams on any Lot marked [AR] which sells for a Hammer the nature, volume or source of the loss or damage 11.6 References in this agreement to Bonhams will, where Price which together with the Buyer’s Premium (but excluding alleged to be suffered, and irrespective of whether appropriate, include reference to Bonhams’ officers, any VAT) equals or exceeds 1000 euros (converted into the said loss or damage is caused by or claimed employees and agents. the currency of the Sale using the European Central Bank in respect of any negligence, other tort, breach of Reference rate prevailing on the date of the Sale). contract, statutory duty, bailee’s duty, a restitutionary 11.7 The headings used in this agreement are “Auctioneer” the representative of Bonhams conducting the claim or otherwise. for convenience only and will not affect its Sale. interpretation. “Bidder” a person who has completed a Bidding Form. 10.3.2 Unless you buy the Lot as a Consumer, in any “Bidding Form” our Bidding Registration Form, our Absentee circumstances where we are liable to you in 11.8 In this agreement “including” means “including, Bidding Form or our Telephone Bidding Form. respect of a Lot, or any act, omission, statement, without limitation”. “Bonhams” Bonhams 1793 Limited or its successors or representation in respect of it, or this agreement assigns. Bonhams is also referred to in the Buyer’s Agreement, or its performance, and whether in damages, for 11.9 References to the singular will include reference to the Conditions of Business and the Notice to Bidders by the an indemnity or contribution or for a restitutionary the plural (and vice versa) and reference to any one words “we”, “us” and “our”. remedy or in any way whatsoever, our liability will be gender will include reference to the other genders. “Book” a printed Book offered for Sale at a specialist Book limited to payment of a sum which will not exceed Sale. by way of maximum the amount of the Purchase 11.10 Reference to a numbered paragraph is to a “Business” includes any trade, Business and profession. Price of the Lot plus Buyer’s Premium (less any sum paragraph of this agreement. “Buyer” the person to whom a Lot is knocked down by the you may be entitled to recover from the Seller) Auctioneer. The Buyer is also referred to in the Contract for irrespective in any case of the nature, volume or 11.11 Save as expressly provided in paragraph 11.12 Sale and the Buyer’s Agreement by the words “you” and source of any loss or damage alleged to be suffered nothing in this agreement confers (or purports to “your”. or sum claimed as due, and irrespective of whether confer) on any person who is not a party to this “Buyer’s Agreement” the contract entered into by Bonhams the liability arises from negligence, other tort, agreement any benefit conferred by, or the right to with the Buyer (see Appendix 2 in the Catalogue). breach of contract, statutory duty, bailee’s duty, a enforce any term of, this agreement. “Buyer’s Premium” the sum calculated on the Hammer Price restitutionary claim or otherwise. at the rates stated in the Notice to Bidders. 11.12 Where this agreement confers an immunity from, “Catalogue” the Catalogue relating to the relevant Sale, You may wish to protect yourself against loss by and/or an exclusion or restriction of, the responsibility including any representation of the Catalogue published on obtaining insurance. and/or liability of Bonhams, it will also operate in our Website. favour and for the benefit of Bonhams’ holding “Commission” the Commission payable by the Seller to 10.4 Nothing set out above will be construed as excluding company and the subsidiaries of such holding Bonhams calculated at the rates stated in the Contract Form. or restricting (whether directly or indirectly) any company and the successors and assigns of Bonhams “Condition Report” a report on the physical condition of a Lot person’s liability or excluding or restricting any and of such companies and of any officer, employee provided to a Bidder or potential Bidder by Bonhams on behalf person’s rights or remedies in respect of (i) fraud, or and agent of Bonhams and such companies, each of the Seller. (ii) death or personal injury caused by our negligence of whom will be entitled to rely on the relevant “Conditions of Sale” the Notice to Bidders, Contract for Sale, (or any person under our control or for whom we are immunity and/or exclusion and/or restriction within Buyer’s Agreement and Definitions and Glossary. legally responsible), or (iii) acts or omissions for which and for the purposes of Contracts (Rights of Third “Consignment Fee” a fee payable to Bonhams by the Seller we are liable under the Occupiers Liability Act 1957, Parties) Act 1999, which enables the benefit of a calculated at rates set out in the Conditions of Business. or (iv) any other liability to the extent the same may contract to be extended to a person who is not a “Consumer” a natural person who is acting for the relevant not be excluded or restricted as a matter of law, or party to the contract, and generally at law. purpose outside his trade, Business or profession. (v) under our undertaking in paragraph 9 of these “Contract Form” the Contract Form, or vehicle Entry form, as conditions. 12 GOVERNING LAW applicable, signed by or on behalf of the Seller listing the Lots to be offered for Sale by Bonhams. 11 MISCELLANEOUS All transactions to which this agreement applies “Contract for Sale” the Sale contract entered into by the and all connected matters will be governed by and Seller with the Buyer (see Appendix 1 in the Catalogue). 11.1 You may not assign either the benefit or burden of construed in accordance with the laws of that part “Contractual Description” the only Description of the Lot this agreement. of the United Kingdom where the Sale takes (or (being that part of the Entry about the Lot in the Catalogue is to take) place and we and you each submit to which is in bold letters, any photograph (except for the colour) 11.2 Our failure or delay in enforcing or exercising any the exclusive jurisdiction of the courts of that part and the contents of any Condition Report) to which the Seller power or right under this agreement will not operate of the United Kingdom, save that we may bring undertakes in the Contract of Sale the Lot corresponds. or be deemed to operate as a waiver of our rights proceedings against you in any other court of “Description” any statement or representation in any under it except to the extent of any express waiver competent jurisdiction to the extent permitted by way descriptive of the Lot, including any statement or given to you in writing. Any such waiver will not the laws of the relevant jurisdiction. Bonhams has a representation relating to its authorship, attribution, condition, affect our ability subsequently to enforce any right complaints procedure in place. provenance, authenticity, style, period, age, suitability, quality, arising under this agreement. origin, value, estimated selling price (including the Hammer DATA PROTECTION – USE OF YOUR INFORMATION Price). 11.3 If either party to this agreement is prevented from “Entry” a written statement in the Catalogue identifying the performing that party’s respective obligations Where we obtain any personal information about you, we shall Lot and its Lot number which may contain a Description and under this agreement by circumstances beyond only use it in accordance with the terms of our Privacy Policy illustration(s) relating to the Lot. its reasonable control or if performance of its (subject to any additional specific consent(s) you may have “Estimate” a statement of our opinion of the range within obligations would by reason of such circumstances given at the time your information was disclosed). A copy of which the hammer is likely to fall. give rise to a significantly increased financial our Privacy Policy can be found on our Website www.bonhams. cost to it, that party will not, for so long as such com or requested by post from Customer Services Department, circumstances prevail, be required to perform such 101 New Bond Street, London W1S 1SR, United Kingdom or obligations. This paragraph does not apply to the by email from [email protected]. obligations imposed on you by paragraph 3.

NTB/MAIN/11.12 “Expenses” charges and Expenses paid or payable by “Standard Examination” a visual examination of a Lot by a (3) This subsection applies to a contract of sale in the case Bonhams in respect of the Lot including legal Expenses, non-specialist member of Bonhams’ staff. of which there appears from the contract or is to be banking charges and Expenses incurred as a result of an “Storage Contract” means the contract described in inferred from its circumstances an intention that the electronic transfer of money, charges and Expenses for loss and paragraph 8.3.3 of the Conditions of Business or paragraph seller should transfer only such title as he or a third damage cover, insurance, Catalogue and other reproductions 4.4 of the Buyer’s Agreement (as appropriate). person may have. and illustrations, any customs duties, advertising, packing or “Storage Contractor” means the company identified as such shipping costs, reproductions rights’ fees, taxes, levies, costs of in the Catalogue. (4) In a contract to which subsection (3) above applies there testing, searches or enquiries, preparation of the Lot for Sale, “Terrorism” means any act or threatened act of terrorism, is an implied term that all charges or encumbrances storage charges, removal charges, removal charges or costs whether any person is acting alone or on behalf of or in known to the seller and not known to the buyer have of collection from the Seller as the Seller’s agents or from a connection with any organisation(s) and/or government(s), been disclosed to the buyer before the contract is made. defaulting Buyer, plus VAT if applicable. committed for political, religious or ideological or similar “Forgery” an imitation intended by the maker or any other purposes including, but not limited to, the intention to (5) In a contract to which subsection (3) above applies person to deceive as to authorship, attribution, origin, influence any government and/or put the public or any section there is also an implied term that none of the following authenticity, style, date, age, period, provenance, culture, of the public into fear. will disturb the buyer’s quiet possession of the goods, source or composition, which at the date of the Sale had a “Trust Account” the bank account of Bonhams into which all namely: value materially less than it would have had if the Lot had not sums received in respect of the Purchase Price of any been such an imitation, and which is not stated to be such Lot will be paid, such account to be a distinct and separate (a) the seller; an imitation in any description of the Lot. A Lot will not be a account to Bonhams’ normal business bank account. Forgery by reason of any damage to, and/or restoration and/ “VAT” value added tax at the prevailing rate at the date of the (b) in a case where the parties to the contract intend or modification work (including repainting or over painting) Sale in the United Kingdom. that the seller should transfer only such title as a having been carried out on the Lot, where that damage, “Website” Bonhams Website at www.bonhams.com third person may have, that person; restoration or modification work (as the case may be) does not “Withdrawal Notice” the Seller’s written notice to Bonhams substantially affect the identity of the Lot as one conforming to revoking Bonhams’ instructions to sell a Lot. (c) anyone claiming through or under the seller or the Description of the Lot. “Without Reserve” where there is no minimum price at that third person otherwise than under a charge “Guarantee” the obligation undertaken personally by which a Lot may be sold (whether at auction or by private or encumbrance disclosed or known to the buyer Bonhams to the Buyer in respect of any Forgery and, in the treaty). before the contract is made. case of specialist Stamp Sales and/or specialist Book Sales, a Lot made up of a Stamp or Stamps or a Book or Books as set out GLOSSARY (5A) As regards England and Wales and Northern Ireland, the in the Buyer’s Agreement. term implied by subsection (1) above is a condition and “Hammer Price” the price in the currency in which the Sale is The following expressions have specific legal meanings with the terms implied by subsections (2), (4) and (5) above conducted at which a Lot is knocked down by the Auctioneer. which you may not be familiar. The following glossary is are warranties.” “Loss and Damage Warranty” means the warranty described intended to give you an understanding of those expressions in paragraph 8.2 of the Conditions of Business. but is not intended to limit their legal meanings: “Loss and Damage Warranty Fee” means the fee described “artist’s resale right”: the right of the creator of a work of art in paragraph 8.2.3 of the Conditions of Business. to receive a payment on Sales of that work subsequent to the “Lot” any item consigned to Bonhams with a view to its Sale original Sale of that work by the creator of it as set out in the at auction or by private treaty (and reference to any Lot will Artists Resale Right Regulations 2006. include, unless the context otherwise requires, reference to “bailee”: a person to whom goods are entrusted. individual items comprised in a group of two or more items “indemnity”: an obligation to put the person who has offered for Sale as one Lot). the benefit of the indemnity in the same position in which “Motoring Catalogue Fee” a fee payable by the Seller to he would have been, had the circumstances giving rise to Bonhams in consideration of the additional work undertaken the indemnity not arisen and the expression “indemnify” is by Bonhams in respect of the cataloguing of motor vehicles construed accordingly. and in respect of the promotion of Sales of motor vehicles. “interpleader proceedings”: proceedings in the Courts to “New Bond Street” means Bonhams’ saleroom at 101 New determine ownership or rights over a Lot. Bond Street, London W1S 1SR. “knocked down”: when a Lot is sold to a Bidder, indicated by “Notional Charges” the amount of Commission and VAT the fall of the hammer at the Sale. which would have been payable if the Lot had been sold at the “lien”: a right for the person who has possession of the Lot to Notional Price. retain possession of it. “Notional Fee” the sum on which the Consignment Fee “risk”: the possibility that a Lot may be lost, damaged, payable to Bonhams by the Seller is based and which is destroyed, stolen, or deteriorate in condition or value. calculated according to the formula set out in the Conditions “title”: the legal and equitable right to the ownership of a Lot. of Business. “tort”: a legal wrong done to someone to whom the wrong “Notional Price” the latest in time of the average of the doer has a duty of care. high and low Estimates given by us to you or stated in the Catalogue or, if no such Estimates have been given or stated, SALE OF GOODS ACT 1979 the Reserve applicable to the Lot. “Notice to Bidders” the notice printed at the back or front of The following is an extract from the Sale of Goods Act 1979: our Catalogues. “Purchase Price” the aggregate of the Hammer Price and VAT “Section 12 Implied terms about title, etc on the Hammer Price. “Reserve” the minimum price at which a Lot may be sold (1) In a contract of sale, other than one to which subsection (whether at auction or by private treaty). (3) below applies, there is an implied term on the part of “Sale” the auction Sale at which a Lot is to be offered for Sale the seller that in the case of a sale he has a right to sell by Bonhams. the goods, and in the case of an agreement to sell he “Sale Proceeds” the net amount due to the Seller from the will have such a right at the time when the property is to Sale of a Lot, being the Hammer Price less the Commission, any pass. VAT chargeable thereon, Expenses and any other amount due to us in whatever capacity and howsoever arising. (2) In a contract of sale, other than one to which subsection “Seller” the person who offers the Lot for Sale named on (3) below applies, there is also an implied term that- the Contract Form. Where the person so named identifies on the form another person as acting as his agent, or where the (a) the goods are free, and will remain free until person named on the Contract Form acts as an agent for a the time when the property is to pass, from any principal (whether such agency is disclosed to Bonhams or not), charge or encumbrance not disclosed or known “Seller” includes both the agent and the principal who shall be to the buyer before the contract is made, and jointly and severally liable as such. The Seller is also referred to in the Conditions of Business by the words “you” and “your”. (b) the buyer will enjoy quiet possession of the goods “Specialist Examination” a visual examination of a Lot by a except in so far as it may be disturbed by the specialist on the Lot. owner or other person entitled to the benefit “Stamp” means a postage Stamp offered for Sale at a of any charge or encumbrance so disclosed or Specialist Stamp Sale. known.

NTB/MAIN/11.12 International Salerooms, Offices and Associated Companies ( • Indicates Saleroom)

UNITED KINGDOM Representatives: Representative: Italy - Milan NOrTH AMErICA SOUTH AMErICA Dorset Isle of Man Via Boccaccio 22 London Bill Allan Felicity Loughran 20123 Milano USA Argentina 101 New Bond Street • +44 1935 815 271 +44 1624 822 875 +39 (0)2 4953 9020 Daniel Claramunt London W1S 1SR +39 (0)2 4953 9021 fax San Francisco • +54 11 479 37600 +44 20 7447 7447 East Anglia Channel Islands [email protected] 220 San Bruno Avenue +44 20 7447 7400 fax San Francisco Brazil Bury St. Edmunds Jersey Italy - rome CA 94103 Thomaz Oscar Saavedra Montpelier Street • 21 Churchgate Street 39 Don Street Via Sicilia 50 +1 (415) 861 7500 +55 11 3031 4444 London SW7 1HH Bury St Edmunds St.Helier 00187 Rome +1 (415) 861 8951 fax +55 11 3031 4444 fax +44 20 7393 3900 Suffolk IP33 1RG JE2 4TR +39 (0)6 48 5900 +44 20 7393 3905 fax +44 1284 716 190 +44 1534 722 441 +39 (0)6 482 0479 fax Los Angeles • +44 1284 755 844 fax +44 1534 759 354 fax [email protected] 7601 W. Sunset Boulevard ASIA South East Los Angeles England Norfolk Representative: Netherlands - Amsterdam CA 90046 Hong Kong The Market Place Guernsey de Lairessestraat 123 +1 (323) 850 7500 Carson Chan Brighton & Hove Reepham +44 1481 722 448 1075 HH Amsterdam +1 (323) 850 6090 fax Suite 1122 19 Palmeira Square Norfolk NR10 4JJ +31 20 67 09 701 Two Pacific Place Hove, East Sussex +44 1603 871 443 Scotland +31 20 67 09 702 fax New York • 88 Queensway BN3 2JN +44 1603 872 973 fax [email protected] 580 Madison Avenue Admiralty +44 1273 220 000 Edinburgh • New York, NY Hong Kong +44 1273 220 335 fax Midlands 22 Queen Street Spain - Madrid 10022 +852 2918 4321 Edinburgh Nuñez de Balboa no.4 - 1A +1 (212) 644 9001 +852 2918 4320 fax Guildford Knowle EH2 1JX Madrid +1 (212) 644 9007 fax Millmead, The Old House +44 131 225 2266 28001 Beijing Guildford, Station Road +44 131 220 2547 fax +34 91 578 17 27 Representatives: Xibo Wang Surrey GU2 4BE Knowle, Solihull [email protected] Arizona Room A515 +44 1483 504 030 West Midlands Glasgow Terri Adrian-Hardy F/5 CBD International Mansion +44 1483 450 205 fax B93 0HT 176 St. Vincent Street, Switzerland - Geneva +1 (480) 994 5362 No. 16 Yongan Dongli +44 1564 776 151 Glasgow Rue Etienne-Dumont 10 Chaoyang District Tunbridge Wells +44 1564 778 069 fax G2 5SG 1204 Geneva California Beijing 100022 Ground Floor +44 141 223 8866 Switzerland Central Valley +852 3607 0023 Royal Victoria House Oxford • +44 141 223 8868 fax +41 76 379 9230 David Daniel +852 2918 4320 fax 51-55 The Pantiles Banbury Road [email protected] +1 (916) 364 1645 Tunbridge Wells, Kent Shipton on Cherwell Representatives: Japan TN2 5TE Kidlington OX5 1JH Wine & Spirits Representatives: District of Columbia/ Hiromi Ono +44 1892 546 818 +44 1865 853 640 Tom Gilbey Greece Mid-Atlantic Level 14 Hibiya Central Building +44 1892 518 077 fax +44 1865 372 722 fax +44 1382 330 256 Art Expertise Martin Gammon 1-2-9 Nishi-Shimbashi +30 210 3636 404 +1 (202) 333 1696 Minato-ku Isle of Wight Henley Wales Tokyo 105-0003 +44 1983 282 228 The Coach House Marbella Southern California +81 (0) 3 5532 8636 66 Northfield End Cardiff James Roberts Christine Eisenberg +81 (0) 3 5532 8637 fax Representative: Henley on Thames 7-8 Park Place, +34 952 90 62 50 +1 (949) 646 6560 [email protected] West Sussex Oxon RG9 2JN Cardiff CF10 3DP [email protected] Jeff Burfield +44 1491 413 636 +44 2920 727 980 Florida Taiwan +44 1243 787 548 +44 1491 413 637 fax +44 2920 727 989 fax Portugal +1 (305) 228 6600 +886 2 8758 2898 Filipa Rebelo de Andrade South West Yorkshire & North East +351 91 921 4778 Georgia England England EUrOPE [email protected] Mary Moore Bethea AUSTrALIA +1 (404) 842 1500 Bath Leeds Austria - Vienna russia Sydney Queen Square House 30 Park Square West Garnisongasse 4 Marina Jacobson Illinois 76 Paddington Street Charlotte Street Leeds LS1 2PF 1090 Vienna +7 921 555 2302 Ricki Blumberg Harris Paddington NSW 2021 Bath BA1 2LL +44 113 234 5755 +43 (0)1 403 00 01 [email protected] +1 (312) 475 3922 Australia +44 1225 788 988 +44 113 244 3910 fax [email protected] +1 (773) 267 3300 +61 (0) 2 8412 2222 +44 1225 446 675 fax +61 (0) 2 9475 4110 fax North West England Belgium - Brussels Massachusetts [email protected] Cornwall – Par Boulevard Boston/New England Cornubia Hall Chester • Saint-Michel 101 Amy Corcoran Melbourne Eastcliffe Road New House 1040 Brussels +1 (617) 742 0909 Ormond Hall Par, Cornwall 150 Christleton Road +32 (0)2 736 5076 557 St Kilda Rd PL24 2AQ Chester, Cheshire +32 (0)2 732 5501 fax Nevada Melbourne VIC 3004 +44 1726 814 047 CH3 5TD [email protected] David Daniel +61 (0) 3 8640 4088 +44 1726 817 979 fax +44 1244 313 936 +1 (775) 831 0330 +44 1244 340 028 fax France - Paris Representatives: Exeter 4 rue de la Paix New Mexico Perth The Lodge Carlisle 75002 Paris Leslie Trilling Norah Ohrt Southernhay West Exeter, 48 Cecil Street +33 (0)1 42 61 1010 +1 (505) 820 0701 +61 (0) 8 9433 4414 Devon Carlisle, Cumbria +33 (0)1 42 61 1015 fax EX1 1JG CA1 1NT [email protected] Oregon Adelaide +44 1392 425 264 +44 1228 542 422 Sheryl Acheson James Bruce +44 1392 494 561 fax +44 1228 590 106 fax Germany - Cologne +1(503) 312 6023 +61 (0) 8 8232 2860 Albertusstrasse 26 Winchester Manchester 50667 Cologne Texas The Red House The Stables +49 (0)221 2779 9650 Amy Lawch AFrICA Hyde Street 213 Ashley Road +49 (0)221 2779 9652 fax +1 (713) 621 5988 Winchester Hale WA15 9TB [email protected] South Africa - Johannesburg Hants SO23 7DX +44 161 927 3822 Washington Penny Culverwell +44 1962 862 515 +44 161 927 3824 fax Germany - Munich Heather O’Mahony +27 (0)71 342 2670 +44 1962 865 166 fax Maximilianstrasse 52 +1 (206) 218 5011 [email protected] Southport 80538 Munich Tetbury 33 Botanic Road +49 (0) 89 2420 5812 CANADA 22a Long Street Churchtown +49 (0) 89 2420 7523 fax Tetbury Southport [email protected] Toronto, Ontario • Gloucestershire Merseyside PR9 7NE Jack Kerr-Wilson GL8 8AQ +44 1704 507 875 Ireland - Dublin 20 Hazelton Avenue +44 1666 502 200 +44 1704 507 877 fax 31 Molesworth Street Toronto, ONT +44 1666 505 107 fax Dublin 2 M5R 2E2 +353 (0)1 602 0990 +1 (416) 462 9004 +353 (0)1 4004 140 fax [email protected] [email protected] Montreal, Quebec David Kelsey +1 (514) 341 9238 [email protected]

G-NET/12/12 To e-mail any of the below use the first name dot second Bonhams Specialist Departments name @bonhams.com eg. [email protected]

19th Century Paintings British & European Football Sporting Motor Cars Scientific Instruments UK Porcelain & Pottery Memorabilia UK Jon Baddeley Charles O’ Brien UK Dan Davies Tim Schofield +44 20 7393 3872 +44 20 7468 8360 John Sandon +44 1244 353118 +44 20 7468 5804 U.S.A. U.S.A +44 20 7468 8244 USA Jonathan Snellenburg Madalina Lazen U.S.A Furniture & Works of Art Mark Osborne +1 212 461 6530 +1 212 644 9108 Peter Scott UK +1 415 503 3353 +1 415 503 3326 Fergus Lyons EUROPE Scottish Pictures 20th Century British Art +44 20 7468 8221 Philip Kantor Chris Brickley Matthew Bradbury Contemporary Art U.S.A +32 476 879 471 +44 131 240 2297 +44 20 7468 8295 U.S.A Jeffrey Smith AUSTRALIA Jeremy Goldsmith +1 415 503 3413 Damien Duigan Silver & Gold Boxes Aboriginal Art +1 212 644 9656 +61 2 8412 2232 UK Greer Adams Greek Art Automobilia Michael Moorcroft +61 2 8412 2222 California & Olympia Pappa UK +44 20 7468 8241 American Paintings +44 20 7468 8314 Toby Wilson U.S.A African and Oceanic Art Scot Levitt +44 8700 273 619 Aileen Ward UK +1 323 436 5425 Golf Sporting USA +1 800 223 5463 Philip Keith Memorabilia Kurt Forry +44 2920 727 980 Carpets Kevin Mcgimpsey +1 415 391 4000 South African Art U.S.A UK +44 1244 353123 Giles Peppiatt Fred Baklar Mark Dance Motorcycles +44 20 7468 8355 +1 323 436 5416 +44 8700 27361 Irish Art Ben Walker U.S.A. Penny Day +44 8700 273616 Sporting Guns American Paintings Hadji Rahimipour +44 20 7468 8366 Automobilia Patrick Hawes Alan Fausel +1 415 503 3392 Adrian Pipiros +44 20 7393 3815 +1 212 644 9039 Impressionist & +44 8700 273621 Chinese & Asian Art Modern Art Toys, Dolls & Chess Antiquities UK Deborah Allan Musical Instruments Leigh Gotch Madeleine Perridge Asaph Hyman +44 20 7468 8276 Philip Scott +44 20 8963 2839 +44 20 7468 8226 +44 20 7468 5888 +44 20 7393 3855 U.S.A Islamic & Indian Art Travel Pictures Antique Arms & Armour Dessa Goddard Alice Bailey Natural History Veroniqe Scorer UK +1 415 503 3333 +44 20 7468 8268 U.S.A +44 20 7393 3960 David Williams HONG KONG Claudia Florian +44 20 7393 3807 Julian King Japanese Art +1 323 436 5437 Urban Art U.S.A +852 2918 4321 UK Gareth Williams Paul Carella Suzannah Yip Old Master Pictures +44 20 7468 5879 +1 415 503 3360 Clocks +44 20 7468 8368 UK UK U.S.A Andrew Mckenzie Watches & Art Collections, James Stratton Jeff Olson +44 20 7468 8261 Wristwatches Estates & Valuations +44 20 7468 8364 +1 212 461 6516 U.S.A UK Harvey Cammell U.S.A Mark Fisher Paul Maudsley +44 (0) 207 468 8340 Jonathan Snellenburg Jewellery +1 323 436 5488 +44 20 7447 7412 +1 212 461 6530 UK U.S.A. Art Nouveau & Decorative Jean Ghika Orientalist Art Jonathan Snellenburg Art & Design Coins & Medals +44 20 7468 8282 Charles O’Brien +1 212 461 6530 UK UK U.S.A +44 20 7468 8360 HONG KONG Mark Oliver John Millensted Susan Abeles Carson Chan +44 20 7393 3856 +44 20 7393 3914 +1 212 461 6525 Photography +852 2918 4321 U.S.A U.S.A AUSTRALIA U.S.A Frank Maraschiello Paul Song Patti Sedgwick Judith Eurich Whisky +1 212 644 9059 +1 323 436 5455 +61 2 8412 2222 +1 415 503 3259 UK Martin Green Australian Art Contemporary Art Marine Art Portrait Miniatures +44 1292 520000 Litsa Veldekis & Modern Design UK Camilla Lombardi U.S.A +61 2 8412 2222 UK Alistair Laird +44 20 7393 3985 Joseph Hyman Gareth Williams +44 20 7468 8211 +1 917 206 1661 Australian Colonial +44 20 7468 5834 U.S.A Prints HONG KONG Furniture and Australiana U.S.A Gregg Dietrich UK Daniel Lam James Hendy Sharon Goodman Squires +1 917 206 1697 Rupert Worrall +852 3607 0004 +61 2 8412 2222 +1 212 644 9128 +44 20 7468 8262 Mechanical Music U.S.A Wine Books, Maps & Costume & Textiles Laurence Fisher Judith Eurich UK Manuscripts Claire Browne +44 20 7393 3984 +1 415 503 3259 Richard Harvey UK +44 1564 732969 +44 (0) 8700 273622 Matthew Haley Modern, Contemporary Russian Art U.S.A +44 20 7393 3817 Entertainment & Latin American Art UK Doug Davidson U.S.A Memorabilia U.S.A Sophie Hamilton +1 415 503 3363 Christina Geiger UK Sharon Goodman Squires +44 20 7468 8334 HONG KONG +1 212 644 9094 Stephanie Connell +1 212 644 9128 U.S.A Daniel Lam +44 20 7393 3844 Yelena Harbick +852 3607 0004 British & European Glass U.S.A +1 212 644 9136 UK Catherine Williamson Simon Cottle +1 323 436 5442 +44 20 7468 8383 U.S.A. Ethnographic Art Suzy Pai Jim Haas +1 415 503 3343 +1 415 503 3294

SD05/2012-09 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Books, Maps, Manuscripts & Historical Photographs Sale date: Tuesday 19 March 2013

Sale no. 20751 Sale venue: Knightsbridge Paddle number (for office use only) If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours This sale will be conducted in accordance with prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Bonhams’ Conditions of Sale and bidding and buying for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will at the Sale will be regulated by these Conditions. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. You should read the Conditions in conjunction with General Bid Increments: the Sale Information relating to this Sale which sets £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s out the charges payable by you on the purchases £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s you make and other terms relating to bidding and buying at the Sale. You should ask any questions you £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s have about the Conditions before signing this form. £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s These Conditions also contain certain undertakings £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion by bidders and buyers and limit Bonhams’ liability to £5,000 - 10,000 ...... by 500s bidders and buyers. The auctioneer has discretion to split any bid at any time.

Data protection – use of your information Customer Number Title Where we obtain any personal information about you, we shall only use it in accordance with the terms of our First Name Last Name Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was Company name (to be invoiced if applicable) disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post Address from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. City County / State Credit and Debit Card Payments There is no surcharge for payments made by debit cards Post / Zip code Country issued by a UK bank. All other debit cards and all credit cards are subject to a 3% surcharge on the total invoice price. Telephone mobile Telephone daytime

Notice to Bidders. Telephone evening Fax Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof Preferred number(s) in order for Telephone Bidding (inc. country code) of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorising the individual to bid on E-mail (in capitals) the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference. I am registering to bid as a private client I am registering to bid as a trade client If successful If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before I will collect the purchases myself Please contact me with a shipping quote / - - (if applicable) Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Covering bid* Absentee (T / A) Please indicate Telephone or Absentee (T & VAT) / A)

FOR WINE SALES ONLY Please leave lots “available under bond” in bond I will collect from Park Royal or bonded warehouse Please include delivery charges (minimum charge of £20 + VAT)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] UK/08/12 Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560. Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Sale date: Tuesday 19 March 2013

Sale no. Sale venue: Knightsbridge Paddle number (for office use only) If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours This sale will be conducted in accordance with prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Bonhams’ Conditions of Sale and bidding and buying for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will at the Sale will be regulated by these Conditions. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. You should read the Conditions in conjunction with General Bid Increments: the Sale Information relating to this Sale which sets £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s out the charges payable by you on the purchases £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s you make and other terms relating to bidding and buying at the Sale. You should ask any questions you £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s have about the Conditions before signing this form. £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s These Conditions also contain certain undertakings £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion by bidders and buyers and limit Bonhams’ liability to £5,000 - 10,000 ...... by 500s bidders and buyers. The auctioneer has discretion to split any bid at any time.

Data protection – use of your information Customer Number Title Where we obtain any personal information about you, we shall only use it in accordance with the terms of our First Name Last Name Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was Company name (to be invoiced if applicable) disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post Address from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. City County / State Credit and Debit Card Payments There is no surcharge for payments made by debit cards Post / Zip code Country issued by a UK bank. All other debit cards and all credit cards are subject to a 3% surcharge on the total invoice price. Telephone mobile Telephone daytime

Notice to Bidders. Telephone evening Fax Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof Preferred number(s) in order for Telephone Bidding (inc. country code) of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorising the individual to bid on E-mail (in capitals) the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference. I am registering to bid as a private client I am registering to bid as a trade client If successful If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before I will collect the purchases myself Please contact me with a shipping quote / - - (if applicable) Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Covering bid* Absentee (T / A) Please indicate Telephone or Absentee (T & VAT) / A)

FOR WINE SALES ONLY Please leave lots “available under bond” in bond I will collect from Park Royal or bonded warehouse Please include delivery charges (minimum charge of £20 + VAT)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. 80 Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] UK/08/12 Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560.

Jewellery, Silver, European Ceramics & Glass | 189 Bonhams Montpelier Street Knightsbridge London SW7 1HH +44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax

190 | Bonhams