Pair: Private H. Crates, 14th (1st Birmingham Pals) Battalion, Royal Warwickshire Regiment, who was killed in action on the Western Front at High Wood on 21 July 1916 British War and Victory Medals (1509 Pte. H. Crates. R. War. R.) good very fine Pair: Private F. A. Richmond, Suffolk Regiment British War ands Victory Medals (5091 Pte. F. A. Richmond. Suff. R.); together with the recipient’s Silver War Badge, the reverse officially numbered ‘431999’, complete with safety chain, very fine Memorial Plaque (Thomas Wilson) good very fine (5) £100-£140 --- Henry Crates was born in Birmingham and attested there for the Royal Warwickshire Regiment. He served with the 14th (1st Birmingham Pals) Battalion during the Great War on the Western Front from 1916, and was killed in action at High Wood on 21 July 1916 - entering the line on the southern corner of High Wood facing towards Longueval on 20 July, over the next two days the Battalion was ‘cut to pieces by fire from High Wood’, and suffered total casualties of 485. Crates has no known grave and is commemorated on the Thiepval Memorial, France. Frederick Arthur Richmond attested for the Suffolk Regiment and served with the 4th Battalion during the Great War on the Western Front from 22 January 1916 to 12 August 1918. He was discharged due to wounds, and was awarded the Silver War Badge. His address at the time was Lily Farm, Caldecote, Cambridgeshire. There are numerous men with the name Thomas Wilson on the Commonwealth War Graves Commission Roll of Honour.
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The Royal Geographical Society - Arthur Imhof S.A. an eight-day duration limited edition World Time Clock, in the form of a terrestrial globe with black ground marked with gilt continents, the silvered 24-hour annular dial standing on a wood base with gilt-brass turned pillars, height 27.3 cm.Designed by the British watchmaker Richard Good and manufactured by Arthur Imhof S.A. of La Chaux-de-Fonds, Switzerland, retailed by the Franklin Mint Ltd., London circa 1979/80.
ART DECO POTTERY. Three pieces of Art Deco Pottery including Arthur Wood & Kensington. Tallest 21cm. Also, a modern Brian Wood, Arizona patterned vase. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
A BOX AND LOOSE CERAMICS AND OTHER ORNAMENTS, to include a large ceramic shire horse with cart, height of horse 29cm including harness, a Willow Tree 'With Love' figure, a David Winter 'Green Dragon Pub' model, an Arthur Wood piggy bank, a Carlton Ware pink lustre pot, miniature animals including Wade Whimsies, Peter Fagan and others, crested wares, a Jersey Pottery candleholder, mid twentieth century cruet sets, etc (1 box + loose) (sd)
A selection hill walking, scrambling, and climbing guides for Britain, titles including: Rock Climbing in the Peak District, by Paul Nunn; From the Peak to the Cheviots, by John Wood; Climbs on the North York Moors, edited by M. F. Wilson; Holiday Rambles in the English Lake District, by Arthur L. Bagley; Shadow on the Hills, by Nancy Price; and others, contained across two boxes.
LEADENHALL PRESS : London Cries: with Six Charming Children ... text by Andrew W. Tuer. Illustrated inc. colour after Rowlandson. org. half cloth paper covered boards, title label on upper cover, large paper signed proofs, folio, n.d - with Pearson, Edwin, Banbury Chap Books and Nursery Toy Book Literature ... with Impressions from Several Hundred Original Wood-Cut Blocks ... (etc). org. printed paper covered boards with white buckram spine, only 500 small copies, 4to, Arthur Reader, 1890. With - Egan, Pierce - The Finish to the Adventures of Tom, Jerry, and Logic, in their pursuits through Life In and Out of London, red cloth a little damp marked with skiver spine, hand coloured frontispiece (damaged along the fore-margin), 35 hand coloured plates after Robert Cruikshank. Reeves & Turner.1887. (3)
A George V Silver Double Photograph-Frame, by Ernest Wilfred Sanders and Henry Arthur Mackenzie, Birmingham, 1914, shaped oblong and with two oval aperatures, with an engine-turned finish and central vacant medallion, with wood easel back, 18.5cm wide, 17.5cm high; Together With and a cased silver caddy-spoon, maker's mark RMP, possibly Australian, early 20th century, with shaped terminal, in fitted gilt-tooled black leather covered case, the case 12cm long (2)
Mixed ceramics to include Withernsea, Arthur Wood, a Beswick dog model # 907 and similar, also included in the lot is a pair of bookends. [W] NOTE: THIS LOT IS NOT AVAILABLE FOR IN HOUSE SHIPPING, PLEASE CONTACT CLIENT SERVICES FOR A LIST OF SUITABLE COURIERS AND A QUOTE. PLEASE NOTE: ALL ITEMS MUST BE PAID FOR AND COLLECTED OR DESPATCHED BY WEDNESDAY THE 13TH DECEMBER DUE TO THE HOLIDAY PERIOD.
Play Safe With The Stars - From The Estate of Dave Prowse (Darth Vader in Star Wars) - 'Play Safe With The Stars' - Prowse's personal treasured copy of his own 1981 Green Cross Code themed children's annual. The annual features various cartoon strips and inclusions from celebrities of the period, and comes autographed by a wealth of stars and celebrities - all obtained personally by Mr Prowse during the period. Autographs include; Mark Hamill (Best Wishes From A Galaxy Far Far Away!), Paul Daniels, Ben Kingsley, Brian Cant, Stephanie Lawrence, Simon Carrington, Graeme Garden, Jimmy Savile (Mind How You Go!!), John Cleese (Pull The Chair!!), Ed Stewart, George Cole, Maureen Lipman, Brian Jackson, Arthur Mullard, Jon Pertwee (signed 'Who? Worzel!'), Pete Murray, Lenny Henry, Lennie Bennett, Barry Howard, Bob Carolgees, Helen Atkinson Wood, Rick Wakeman, Metal Mickey, Emlyn Jones, Chas and Dave, John Craven, Harry Carpenter, Sally James, Angela Rippon, Noel Edmonds, Ken Dodd (Super Tights!), Bernard Cribbins, David Jason, Val Doonican, Wayne Sleep, Denis Waterman, George Sewell, Peter Purves, Rula Lenska, Little & Large, Barbara Woodhouse, Chris Tarrant, and many others. Some dedicated to Mr Prowse, some with sentiments or in-jokes. Most signed to the first few pages and blank rear pages, but autographs also feature throughout. The album itself has damage to the spine and general wear, and would benefit from restoration. Complete, and no pages loose but some are working loose. A unique archive of autographs, each personally collected by Mr Prowse in the annual. Originally sold in our Estate Of Dave Prowse Part 2 Auction in 2021
WILDE, Oscar (1854-1900). Oscariana, London, 1910, 12mo, original printed upper wrapper, the lower cover with an embroidered spray of flowers in green, tan and white, within a wide stitched silver wire border.WILDE, Oscar (1854-1900). Oscariana. London: Arthur L. Humphreys, 1910. 12mo (145 x 115mm). Additional title within wood-engraved decorative border, title printed in red and black, small mounted illustration at head of first page of text and at end. Original printed upper wrapper, the lower cover with an embroidered spray of flowers in green, tan and white, within a wide stitched silver wire border.
BLISS, Arthur (1891-1975, composer). Conversations, London, 1922, 4to, original wrappers. Provenance: Edward Wadsworth. FIRST EDITION, NUMBER 2 OF 5 COPIES SIGNED BY THE COMPOSER "RESERVED FROM SALE", and further signed by the publisher. VERY RARE.BLISS, Arthur (1891-1975, composer). Conversations for Flute (and Bass Flute), Oboe (and Cor Anglais), Violin, Viola, and Violoncello. London: Goodwin & Tabb, Ltd., 1922. 4to (260 x 175mm). Printed music notation throughout. Original printed wrappers with woodcut ornament [?] by Edward Wadsworth on the upper wrapper (lightly browned). Provenance: Edward Wadsworth (1889-1949, artist, very small signature in red ink on the upper wrapper beside the woodcut ornament); pencil drawing on the rear endpaper [unsigned] but possibly by Wadsworth. (Please see the illustration.) FIRST EDITION. LIMITED TO 250 COPIES, THIS NUMBER 2 OF 5 SIGNED BY THE COMPOSER "RESERVED FROM SALE", and further signed on behalf of the publisher on the limitation leaf. The five "movements" of the work are titled as follows: 1. The Committee Meeting; 2. In the Wood; 3. In the Ball Room; 4. Soliloquy; and 5. In the Tube at Oxford Circus. VERY RARE.
A pair of English mahogany occasional tables, by Arthur Brett of Norwich, of George III style, 20th century, the gallery tops on chamfered supports, joined by pierced X-frame stretchers, 67cm high, 50cm wide, 42cm deep (2)Condition Report: both with scratches and knocks throughout, one with a piece of wood missing from the gallery top, both structurally sound, overall good condition
James Arthur O'Connor (1792 - 1841) A Clearing in a Forest with Figures on a Path by a Stream Oil on canvas, 72.5 x 93.5cm (28½ x 36¾") Signed and dated 1825One of the largest and most impressive works by the artist to come to market in recent decades – and prior to its rediscovery in a French private collection unknown to scholars and collectors alike – this is a truly magnificent example of Irish landscape art, unusual both in the grandeur of its conception and the bravura handling of paint in its execution. Impressive in scale, the landscape is at the same time a masterpiece of detail, palette and texture. It is perhaps best described as symphonic in the complex richness of its multi-layered surface but somehow the disparate elements coalesce into a harmonious and pleasing whole.The mid-1820s was a period of both consolidation and on-going experimentation in O’Connor’s landscape art. He had arrived back in London by early 1822 and soon met with success with his pictures exhibited at the Royal Academy and the British Institution. A sketchbook of 1822 (National Gallery of Ireland) shows his travels around the south of England in search of subject matter while in 1824 he experimented with etching. O’Connor was an artist in constant need of inspiration from the physical world. He expressed this eloquently in relation to the Irish landscape that he loved so well: ‘I am about [to go] to the wild and beautiful scenery of my native country to refresh my memory, and get some studies to help me in future exertion of my profession – I know I will be benefited by a sight of the grand....scenery that I will meet with in Ireland and hope to show it on canvas’.Through the early ‘20s he continued to paint Wicklow landscapes. In 1825 in a work in the Victoria and Albert Museum, London, he revisited the Westport subject matter with which he had engaged in the previous decade and here again memories of Ireland are clear, if less topographically specific with the rocky stream inevitably reminding of his beloved Dargle River. This is one of a series of generally serene compositions showing travellers on a path by a wood including another landscape of 1825 (Gorry Gallery, 2023) and a work of the following year in Nottingham Castle Museum. However, it surpasses all other works of the 1820s in the intricate complexity of its pattern making as various paths penetrate the picture plane. The play of light and shade as the eye is drawn by human activity into the forest – and back again – is only matched by the subtlety variegated palette as autumn imparts golden richness of tone to the verdure. James Arthur O’Connor, was born in 1792 at 15 Aston’s Quay, Dublin, the son of an engraver and print seller. He first exhibited with the Society of Artists in 1809 when he showed The Card Players. This subject piece was to be something of a false start as his interests thereafter were to lie almost exclusively in landscape, and specifically the Irish scenery which he loved. The artist was, however, to spend a large part of his career in England, also making several extended tours of the continent. Together with Francis Danby and George Petrie, he travelled to London in 1813, but returned the following year to care for his orphaned sisters. His first great series of topographical landscapes was of Westport, executed for the Marquis of Sligo in 1818/19 (private collection). To the same years can be dated the impressive series of Ballinrobe house and demesne (NGI). Although he met with some initial success at home (winning a premium of twenty five guineas from the Royal Irish Institute), in, or about, 1821 O’Connor returned to London and, over the following years, he exhibited landscapes at the Royal Academy, the British Institution and the Society of British Artists, of which he was elected a member.In 1825, the year he painted this large work, O’Connor moved to Hampstead where his friend Danby, as well as John Constable, were neighbours and the following year he spent at least six months in Brussels where, it seems, he painted a rather atypical view, The Field of Waterloo (private collection). While his correspondence shows that he was acutely aware of the innovations in landscape painting of both Constable and Turner, it is also tempting to hypothesize continental influences. Indeed, O’Connor made several trips to Europe, meeting with some success in Paris, where he was apparently patronized by King Louis Phillipe. Indeed, given the longstanding French provenance of this notably distinguished work it is likely that it was one of the works that O’Connor brought with him to the continent in the 1820s as a calling card to showcase his art. Certainly it can be viewed as a summation of the different strands within his art up to this point and the proud, even programmatic nature of the signature argues for the significance that O’Connor afforded to the painting. However, from about 1833 failing eyesight and general ill health curtailed O’Connor’s career, although he was greatly helped by a generous commission from Sir Charles Coote of Ballyfin, which was paid for in advance. O’Connor died in poverty in London in 1841. His fellow artists, led by his compatriot the President of the Royal Academy Sir Martin Archer Shee, organized a subscription for his widow.O’Connor’s obituary in the Dublin Monthly Magazine for Apr his character and art. ‘O’Connor was a man of simple, quiet, unsophisticated feelings, alive to the simple charms of nature, and awake to her slightest impulses. He was impressed by her sublimity and grandeur and artificially cultivated scenery was not to his taste’. O’Connor is one of the most capable and interesting of all Irish landscape painters, and comes close to matching the achievements of the eighteenth-century school: as one of his earliest biographers put it, ‘he was a poet with the brush, and exquisitely reproduced the impressions inspired by the more romantic and solemn aspects of nature’. It is pleasing that this, one of his lost masterpieces, has finally been identified and indeed has been repatriated to Ireland after its long sojourn in France.
A fine Great War ‘Third Battle of the Scarpe’ M.C. group of four awarded to Major A. W. Lavarack, Royal Fusiliers, who was decorated in 1917 for his part in the capture of Oppy, near Arras, commended by the C.O. of the 17th Royal Fusiliers for his ‘suggestions’ and ‘coolness’ during the Battle of Cambrai, and wounded in action during the German Spring Offensive Subsequently appointed Secretary and later President of the English Golf Union, Lavarack selected and accompanied two gifted amateur golfers to Baden Baden Golf Club in Germany in the aftermath of the 1936 Berlin Olympics, successfully masterminding a last-minute victory in the Golfpreis der Nationen Trophy, more commonly known as the ‘Hitler Trophy’ over the much-fancied young German pairing Military Cross, G.V.R., the reverse privately engraved ‘Oppy Village. Major A. Whitley Lavarack. 17th. R.F. June. 1917.’; 1914-15 Star (2. Lieut. A. W. Lavarack. R. Fus.); British War and Victory Medals (Major A. W. Lavarack.) nearly extremely fine (4) £1,400-£1,800 --- M.C. London Gazette 4 June 1917. Arthur Whitley Lavarack was born at Willesden, Middlesex, on 25 December 1883. Given the nickname ‘Tiny’ on account of his 5 foot 2 inch stature, Laverack spent his childhood and teenage years in Hendon and Austria, devoting his time to engineering and invention. Granted a patent in America for a ‘recreative switchback apparatus’ bearing a heavy resemblance to a Cornish wheelhouse of the 1800s, his creativity was only stifled by the outbreak of the Great War. Appointed Second Lieutenant in the Royal Fusiliers on 4 November 1915, he is recorded by author Edward Wyrall as one of the original contingent of the 17th (Service) Battalion. Sent to France on 16 November 1915, Lavarack joined 30 officers and 994 other ranks in the Annezin, and later Cuinchy, sectors. According to Wyrall, life at Cuinchy was pretty miserable: ‘In the front line, water and mud - anything from waist to knee deep - produced a condition almost indescribable. The hours men spent crouching against the walls of the trenches (for to show one’s head meant almost certain death from a sniper’s bullet) were passed in dull agony... shell holes and mine craters frequently overlapped one another, mostly full of stinking water, foul from decaying bodies which still lay beneath the turgid surface.’ Engaged at Guillemont and the Battle of the Somme, it was said that a subaltern’s life in the Royal Fusiliers at this time was worth only about a week’s purchase, so dreadful were the casualties among the officers. At the Battle of the Scarpe on 3-4 May 1917, two ‘fresh’ companies of the 17th Royal Fusiliers moved forward to assist the Canadians, one to Arleux Loop and the other to the old British line west of the loop. Noted as present by Wyrall, Lavarack was awarded the Military Cross. Oppy proved a turning point for the Battalion, for as Wyrall noted: ‘The old Battalion which had landed in France in 1915 was becoming extinct’. The surviving officers were now in command of inexperienced men, with strong leadership being ever more vital. On 30 November 1917, the Germans launched a savage rain of shellfire onto the Bapaume-Cambrai Road. Keen to retake the salient held by the Royal Fusiliers near Vendhuille, prodigious numbers of infantry left their trenches at 9 a.m. and began to swarm around British front line units. Holding back the surging masses of grey-clad figures, Captain W. N. Stone and Lieutenant S. Benzecry were both recommended for the V.C., the former being posthumously awarded the decoration in the London Gazette of 13 February 1918. Wyrall notes that the Commanding Officer of the 17th Battalion was keen to praise others: ‘...to Captain and Adjutant A. W. Lavarack, for the suggestions that he made and the coolness which he maintained which were of invaluable assistance to me, especially as both my signalling and intelligence officers were wounded earlier in the fighting.’ The early days of the Spring Offensive brought further challenges for Lavarack and his comrades. Facing a ‘grey avalanche’ at Miraumont, Courcelette, Le Sars and Loupart Wood, Wyrall notes an onslaught no less in magnitude than that faced by Stone and Benzecry in the Rat’s Tail a few months previously. Wounded in action, Lavarack was fortunate to reach the sanctuary of a casualty clearing station. Returned home at the cessation of hostilities, he then determined to spend the next 40 years enjoying the manicured fairways of the best golf courses up and down the breadth of the British Isles - in somewhat marked contrast to the Western Front. Appointed Paid Secretary to the English Golfing Union in 1934, Lavarack soon found himself meeting the German Führer who was considering a ‘spin off’ spectacle after the Berlin Olympic Games: ‘A difficult interview with Hitler is one of the odder golfing memories of Major A. Whitley Lavarack, who succeeds Mr. Alan Sowden, of Ilkley, as president of the English Golf Union at the Union’s annual meeting in London today. Major Lavarack, who has been secretary of the Union since 1925, spent much of his early life in Austria. When Hitler came to power, there was some talk that he would ban golf in Germany. Herr Heinkel (sic), the then president of the German Golf Union, asked Major Lavarack to use his influence to put over the golfers’ point of view. An interview was arranged. After Major Lavarack had explained the game and extolled its health-giving virtues, Hitler said impatiently: “If I allow my people to play golf it must be arranged that we win everything.” Major Lavarack said diffidently that this was not always possible. Hitler replied sharply: “If we do not win all the time I shall plough up the courses”.’ (Recollections of Major Lavarack, published in the Yorkshire Post and Leeds Mercury, 10 March 1954). It is difficult to understand why mid 1930s Germany held any interest in golf or golf tournaments at all, more so why the Führer would spend his own reichmarks on an amber-laden plate trophy. Germany had no golfing tradition, nor champions, and only around 50 courses. More pointedly, author Alan Fraser in his book The Hitler Trophy notes that ‘Hitler was to golf at that time what Tiger Woods is to painting today’. With time at a premium, the Head of the German Golf Union successfully sourced two talented amateur players, but was unable to convince the I.O.C. to admit golf into the programme for the 1936 Olympic Games. Instead, Karl Henkell arranged what he hoped would be a prestigious addendum, an international tournament that would be close enough in time, if not place, to be recognised as part of the Olympiad; christened Der Grosse Preis der Nationen, the tournament was designed to allow golf to wrap itself around the Olympic flag, offering further spectacle for the top German dignitaries. Emboldened by the success of a pre-Olympic tour of America, Henkell sent invitations to 36 countries inviting them to compete at Baden Baden Golf Club; 28 immediately declined. With an increasing awareness of German clubs expelling Jewish players, Switzerland and Sweden soon followed. This left England under the stewardship of Lavarack as one of the remaining half-dozen to accept, alongside France, Italy, Czechoslovakia, Hungary and the Netherlands. Accompanying Lavarack to Baden Baden were English golfers Tom Thirsk and Arnold Bentley. A seasoned pair, they faced 72 holes of strokeplay with the combined scores of both players determining the winner. From the calm surrounds of his Black Forest digs, Lavarack sent telegrams to his men: ‘Bes...
LEOPARD AND MAGPIES', EX ADOLPHE STOCLET COLLECTIONKorea, Joseon dynasty (1392-1897), 19th century. Ink, watercolor, and gouache on silk, mounted on cardboard, with a gold-lacquered wood frame, behind glass. Finely painted with a spotted leopard standing foursquare amid rocks, grasses, and leaves, below two magpies in flight. Provenance: From the collection of Adolphe Stoclet, and thence by descent in the Stoclet family. Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father’s death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet’s famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian paintings and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Condition: Good condition with minor wear, little soiling, creasing, small tears, minuscule losses. The frame with some wear, age cracks, and a minor repair to one corner. Dimensions: Image size 211 x 114.5 cm, Size incl. frame 220 x 124 cmKkachi pyobeom, paintings depicting magpies and leopards, was a prominent motif in the minhwa folk art of the Joseon period. The leopard represents authority and the aristocratic yangban, while the dignified magpie represents the common people. Hence, such paintings were a satire of the hierarchical structure of Joseon's feudal society.Museum comparison:Compare a related painting of a leopard and magpie in the Museum of Far Eastern Anitquities, Stockholm.
![Mixed ceramics to include Minton, Royal Doulton, Arthur Wood, Masons and other. [2]. [W]NOTE: THIS LOT IS NOT AVAILABLE FOR I](https://cdn.globalauctionplatform.com/01db7b49-e043-4982-8dac-b07600ce68c1/811c8447-2cad-40f9-8177-b0bb01164230/468x382.jpg)
A mixed collection of ceramics, glass and other items to include - Edwardian tea set( some old cracks, chips to few pieces) green glass tumblers, a stylish mid century Metamec mantle clock, large white ceramic tureen & cover, some commemorative china, ceramic cups and saucers. 19th century blue& white tea bowls, saucer etc, glass decanter, pots etc, ruby glass glasses, green glass bowls, Arthur Wood pieces, ceramic trinket/pill boxes, blue & white platter, lamp bases, Beswick salad ware dish, three framed WW1 postcards, embroidered etc, Royal Artillery interest, a small framed Victorian sampler and other ceramics and glass.
* Bookplates. A collection of 46 bookplates engraved by John Augustus Charles Harrison (1872-1955), seventeen being on large paper and three bearing remarques and two signed in pencil by the artist, mostly armorial bookplates, including for the 8th Duke of Northumberland (seal armorials from 1919, two sizes), Thomas Trappes-Lomax, Lord & Lady Lee of Fareham, Ian Mackenzie, and Baron van Eetvelde, but sometimes with important pictorial elements, such as for Colman, Kruse, Arthur Shephard, and Thairlwall; owners of fully pictorial plates include newspaper magnate Alfred Harmsworth (WPB 1903), Ralph Cator, Maud King, Reginald Pontifex, and Herbert Wood, plus the engraver's own Garden of Eden pictorial ex-libris of 1896, and his last bookplate (a seal in black and in sepia dating from 1954 for his second son, Herbert), the majority in near mint condition with only half a dozen showing any foxing or signs of handling (and one folded), a few smaller ones hinged on to mounts but largely loose and all contained in a plastic folder, together with a copy of Brian North Lee's J.A.C. Harrison: Artist & Engraver (1983), with a biography and checklist of all of Harrison's bookplates, original printed wrappers, 4to, VGQTY: (2)NOTE:The collection comes from Harrison's archive. Whether armorial or pictorial, Harrison's ex-libris display the skill of a master copper-engraver. His work spanned six decades and resulted in the creation of some 350 bookplates. After training in Birmingham, Harrison was employed in 1891 by Waterlows where he worked for eight years as an ornamental engraver, then turning freelance before producing many stamps and banknotes while again working for Waterlows. From 1896 ex-libris were commissioned from him through London booksellers J. & E. Bumpus and bore the initials of their shop manager WPB. In 1908 Harrison severed the connection, partly out of frustration that his work was discredited. Other bookplates originated via Truslove & Hanson or by direct contact with the owners.
ARR Arthur Basil Reynolds (1903-1960) for Reynolds of Ludlow, a mid 20th Century live edge yew wood coffee table stamped to underside121.5cm wide, 46cm deep, 40cm highReynolds apprenticed with Northover & Gilbert in Bridport, Dorset and worked for Stanley Davis (a pupil of Ernest Gimson) in Windermere, Reynolds of Ludlow was established after his service in WWII. He exhibited in 1951 at the festival of Britain Exhibition in the House and Garden Pavilion.
Peter Green’s Fleetwood Mac: An important collection of nineteen performance appearance agreements/ contracts for ‘Peter Green’s Fleetwood Mac’, dated November 1967 – August 1968, one being signed by Peter Green, the contracts relating to appearances March – November 1968, each document being a typed page, the majority signed by the booking agent or manager, agencies comprising Rik Gunnell, Cana Variety, Universal Attractions, Bryan Morrison, Lewis Buckley, Ellis-Wright, Planned Entertainment, Arthur Kimbrell, Klock and Top Rank. All for English and Northern Irish concert venues, including: Bluesville; London School of Economics; Gala Ballroom, Norwich; Spa Lounge, Cheltenham; Black Prince, Bexley; Star Hotel, Croydon; Eden Park, Beckenham; Fishmongers Arms, Wood Green; Nottingham Ice Stadium; Cat Balou Club, Grantham; Middle Earth, London; Floral Hall, Southport; Southampton University Students Union; Starlite Ballroom, Crawley; Belfast/ Londonderry (no venue declared); Manchester Faculty of Technology Students Union, signed by Peter Green ‘P.A. Green’ in blue ballpoint pen; Barm Barbecue, Peterborough; Tin Hat Club, Kettering; and Top Rank Suite, Birmingham; (19 contracts) From the collection of Fleetwood Mac’s former manager Clifford Davis.
DARWIN (CHARLES)The Expression of the Emotions in Man and Animals, FIRST EDITION, second issue, AUTHOR'S PRESENTATION COPY TO ARTHUR MOSTYN OWEN, INSCRIBED 'From the author' in a clerical hand on the front free endpaper, and with an AUTOGRAPH LETTER SIGNED ('CHARLES DARWIN'), further inscribed by Mostyn Owen on the front free endpaper ('A Mostyn Owen/ Woodhouse/ Salop', and 'This was sent me by Charles Darwin/ AMO/ 1873', in pencil), and on Mostyn Owen's address label ('a present from the author Charles Darwin/ in 1873', in ink on front paste-down, the date in pencil and inked over later), the letter 4 pages, on Down House headed notepaper, 8vo, dated 23 May 1873, preserved in its original envelope which is affixed to the rear paste-down, 7 heliotype plates by O. G. Rejlander (3 folding, all numbered in Arabic and with 'Heliotype' not cropped), numerous wood-engraved illustrations, 4pp. publisher's catalogue at end dated November 1872, short nick in upper margin of B1, some foxing to verso of plate 1 and adjacent page, occasional very minor spots elsewhere, publisher's green cloth, spine gilt, extremities rubbed, one small water spot to upper cover, short nicks to spine ends, joints wearing (slight split at foot of upper joint, hinge split internally), [Freeman 1142; Garrison-Morton 4975; Norman 600], 8vo (182 x 122mm.), John Murray, 1872 (2)Footnotes:'A MOST THRILLING TOKEN OF THE VERY MANY JOYFUL DAYS WHICH I OWE TO YOUR FAMILY' - DARWIN SENDS A PRESENTATION COPY TO ONE OF HIS OLD SHROPSHIRE FRIENDS.Arthur Mostyn Owen (1813–1896, of Woodhouse, Shropshire) and his family were great friends of the Darwin and Wedgwood families during Charles' youth, when he regularly visited the estate to shoot with Arthur and his brothers, and got to know the two sisters, Sarah and Fanny Mostyn Owen. On the evidence of letters from the period, Darwin seems to have been on romantic terms with both sisters, until he graduated and set off on the Beagle whilst the sisters got married, Sarah to Thomas Haliburton in 1831, and Fanny to the politician Robert Biddulph in 1832. In his later years Darwin sought to reconnect with the sisters and corresponded with Sarah Haliburton, who in 1872 was one of the recipients of a presentation copy of The Expression of the Emotions. This must have prompted Arthur to write to Darwin some seven months later, and he in turn was sent a copy.Written on Down House headed note paper and dated 23 May, Darwin's four-page letter here opens with him reminiscing about their shooting days at Woodhouse, lamenting the fact that he is too ill to travel let alone shoot, and expressing his continuing feelings of guilt over a shooting accident all those years ago ('I shall never forget that very unpleasant, indeed I may call it horrid day when a shot from my gun entered your eye'). After politely declining Arthur's offer of a portrait, writing that 'it must be a copy of Richmond's, which we possess (& a poor affair it is)', he turns to the other part of the suggested exchange: 'I would with pleasure send you my 'Descent of Man', but... my Origin of Species ought to be read first. I have, however, lately published a book on the 'Expression of the Emotions in Man & Animals'... I will direct my publisher to send you a copy'.The letter, tucked into its envelope at the rear of the volume, is described by the Darwin Correspondence Project as not having been found. But it can now fill the gap between Arthur's two letters to Darwin of 21 May and 28 May 1872, published by the Project as 'nos. 8917 and 8926'. The first sees Mostyn Owen writing to Darwin for the first time in many years. Having come across a portrait painted by Fanny in their Woodhouse days, he suggests that 'if you like to have it I will send it to you--& in return you shall send me the book you have written (people say) to prove our relationship to the monkey tribe'. In Arthur's letter of 28 May, he thanks Darwin for the book, and suggests there is a queue in the family to read it. Regarding his eye, he answers that it did give him some trouble, but that in conjunction with rubbing the area with cayenne pepper, it did help to get him added leave of absence whilst serving in India.Following on from The Descent of Man, The Expression of the Emotions in Man and Animals 'is an important member of the evolutionary set, and it was written, in part at least, as a confutation of the idea that the facial muscles of expression in man were a special endowment' (Freeman). The only book Darwin illustrated with photographs, it heralded the foundation 'of the study of ethology (animal behaviour) and conveyance of information (communication theory) and made a major contribution to psychology' (DSB).This copy is Freeman's second issue, with three preliminary leaves only, 'htat' in the first line on p.208, and the last signatures being 2B1 and 2C4. The numbering of the plates is in Arabic rather than Roman, but no priority seems to have been established.Provenance: Arthur Mostyn Owen, recipient of the letter and his ownership inscriptions in the book; and thence by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Seguin (L.G.) Rural England..., number 114 of 600 de luxe copies on hand-made paper with proofs of illustrations on japanese paper, mounted wood-engraved frontispiece, plates and illustrations by the Dalziel Bros. after J.G.Millais, J.W.North, Helen Allingham, G.J.Pinwell, Arthur Hughes and others, tissue guards, some foxing, mostly to guards or margins, original vellum-backed boards with red & blue ornamental onlays decorated in gilt, t.e.g., others uncut, a little rubbed, especially corners, folio, [1885].
Frances Mabel Hollams (British, 1877-1963)'Buster', 'Shandy', and 'Bluett' - Dalmatians signed and dated 'F.M.HOLLAMS/'36' (lower right), inscribed with dogs' names (lower edge)oil on panel41 x 54cm (16 1/8 x 21 1/4in).Footnotes:Frances Mabel Hollams was an animal painter who specialised in canine and equestrian portraits. She studied at the Frank Calderon School of Animal Painting in South Kensington, and at the Atelier Julian in Paris, the contemporary 'mecca' for animal painters.One of Hollams' trademarks was to paint the dog or horse on board, sometimes varnished, with the grain of the wood showing through, and invariably with no background and the animal's name inscribed on the board. She worked with great speed in order to satisfy her many commissions. She is alleged to have rarely discussed money for a painting, but her butler always waited to bid farewell to clients with a silver salver on which they were expected to place £25 in cash. In 1899, Hollams was elected an associate of the Society of Women Artists and by 1902 her qualities had been quickly recognised and she made a full member. She exhibited extensively including at the Royal Academy (8); the Society of Women Artists (19); and at the Walker Art Gallery in Liverpool (2). In June 1929 she had 'A Loan Exhibition of Oil Paintings of Horse and Dogs', of 66 paintings, at the New Bond Street Walker's Galleries. It was a remarkable tribute, with 54 paintings being kindly lent by many titled and wealthy owners of show champions, pets and famous kennels. In 1937, the New Bond Street dealers Arthur Ackermann & Son paid tribute to Hollams again with 'A Loan Exhibition of Oil Paintings of Horses and Dogs' in which 38 paintings were shown. Hollams' patrons included the Earls of Sefton, Beatty, and Cornwallis. Lord Cornwallis was the Master of the Linton Beagles, and she painted him with his beagles. She also painted for the royals, one of her last oils, executed in 1963, was that of Princess Alexandra Dutchess of Kent with a young friend on horseback.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
ARTHUR A. FRIEDENSON (BRITISH 1872-1955) WINDSWEPT TREES BESIDE A LAKE, a sunset landscape, signed and dated 1914 bottom left, oil on wood panel, approximate size 33cm x 40cm, Condition Report: the painting is in good overall condition, original paint to the frame rubbed with overpainting in places, Friedenson was born in Leeds and was part of the Staithes Group (artist resale rights apply)
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