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Lot 70
1940's Literature 38 volumes, including Betjeman, John English Scottish and Welsh Landscape.. with original photographs by John Piper, 1944, dustwrapper; Young, Francis Brett The Island. 1944, first edition, number 77 of 100 copies signed by the author, original cloth-backed marbled boards; Sea Poems, with original lithographs by Mona Moore.1944, dustwrapper; Stewart, Carol Poems of Sleep and Dream, with original lithographs by Robert Colquhoun. 1947, dustwrapper frayed; Sitwell, Osbert Laughter in the Next Room. 1949, first edition, dustwrapper; this and the following 3 volumes presentation copies to Norman Peterkin; Sitwell, O. The True Story of Dick Whittington. 1945; Sitwell, O. Gentle Despair. 1942, dustwrapper; Sitwell, O. Open the Door. New York, 1941, dustwrapper spine faded Davies, Rhys The Trip to London. 1946, inscribed to Biddy Crozier from the author, dustwrapper frayed; Ferber, Edna Saratoga Trunk. 1942, dustwrapper; Bellow, Saul The Victim. 1948, first edition, dustwrapper; Orwell, George The Lion and the Unicorn. 1941, 2 copies, first edition, dustwrappers, one frayed, one price clipped; Llewellyn, Richard None but the Lonely Heart. 1943. Number 202 of 250 copies signed by the author, original buckram, t.e.g.; and 25 others, first editions, from the 1940's in dustwrappers (38)
Lot 543
A Pair of Mid 19th Century Gilt and Gesso Girandole Mirrors, the original bevelled glass plates within a moulded egg and dart decorated frame, each suspending three candle arms with a vacant cartouche bellow, joined by flowers and leaves headed by a shell decorative plume, 78cm by 46cm see illustration
Lot 29
ANCIENT GREEK VOTIVE COW GREECE, C. 450 B.C. terracotta, shown standing side with the head turned towards the viewer, with a heavy physique and defined musculature, the mouth open as if in mid bellow, raised on a bespoke mount(33.5cm across)Footnote: Provenance: Private collection, United Kingdom, acquired in the 1970's. Gorny & Mosch, 7th June 2009, lot 376.
Lot 59
Murdoch (Iris) A Severed Head, first edition, 1961 § Atwood (Margaret) Cat's Eye, 1989 § Bellow (Saul) Herzog, 1965 § Theroux (Paul) My Secret History, 1989, signed presentation inscriptions from the author to Sally Soames, original boards or cloth, dust-jackets, the first with very small chips to extremities; and 44 others, fiction, most with presentation inscriptions to Sally Soames, some with ownership inscriptions from Soames, v.s. (48)
Lot 58
Basil Blackshaw HRHA RUA (1932-2016) The Big House Oil on canvas, 88 x 73cm (34¾ x 28¾'') Signed; also inscribed with title and dated July (19)'92 Provenance: With Tom Caldwell Gallery, Belfast, 1992/93, where purchased by the present owners. The early 1980s brought an artistic shift to the paintings of Basil Blackshaw. In '83, following a period spent in hospital, Blackshaw determined that he had lost the connection with his subject matter and he set about trying to rekindle the joy which he had once found amongst his canvases. He began to embark along a route that took him further from figural studies and nearer to the abstraction which would later typify his work. Two years later, a studio fire consumed everything but, as with the flames that remove old growth in a forest, a space was cleared in which Blackshaw's talent could grow afresh. From this point, Blackshaw hurled himself along his new path. His models became colour, texture and shape. With each seemingly hurried and spontaneous sweep of his brush, Blackshaw peeled away the exterior layers of his subject matter and revealed its inner form. By doing this, Blackshaw encouraged an appreciation for his subject which was devoid of association. His works sought an exploration of paint, movement and expression and they strove to imprint an experience on the viewer as opposed to a static representational image. As Blackshaw approached a new decade, he was influenced by the work of the neo-expressionists and this further enhanced his pieces. Blackshaw's canvases became awash with violent, rapid brushstrokes, vivid, contrasting colours and distorted forms. The culmination of these factors is evident in 'The Big House'. As with his barn series of the previous year, Blackshaw utilises a saturated colour palette in his approach to this building. The brash yellow arrests the viewer, its strength intensified by the contrast of deep blue in the upper corner. White dashes to the front subtly illustrate a gated entrance and this allows our mind to develop the structure beyond. Presented with the bare minimum, sketched marks roughly delineate the house's form allowing our eye to skid and dash along the paint marks, creating a symphony of movement around a stationary construction. In such a manner, the viewer is immersed in the mind of the artist. We are enveloped in his brusque nature and shown a starkly different world to the one that we are used to. 'The Big House' is a bold and unapologetic painting that beautifully holds its place in the progression of Blackshaw's oeuvre. A painter that refused to commit to any one style, 'The Big House' immortalises a period in which Blackshaw's artistic voice could be likened to a bellow and is, consequently, a painting that cannot be ignored. Helena Carlyle, February 2020 The proceeds of the sale of this painting are being generously donated to the Adsum Foundation, a charity with a goal of investing money in people and communities in the developing world and in particular Madagascar.
Lot 3090
Three pocket watches including an open face German pocket watch, Arabic numerals, subsidiary dial and minute track, 10 Rubis mechanical movement, and another similar, both cased in 800 silver with 12 ct gold plating and another with a checkerboard dial in a base metal case Both German pocket watches are missing their glasses, both enamel dials are damaged one at 2 o'clock and the other bellow 5 o'clock, one is currently working but has not been tested for time keeping, the other is not working Checkerboard dial pocket watch plexi glass is discoloured and scratched, this pocket watch is not currently working Gross weight 194.6 gramsEwbank's do not guarantee the working order or accuracy of any lots sold.
Lot 200
A 20th century bronze novelty lamp, modelled as a street lamp with a cold painted bronze figure of a Pierrot playing a lute seated bellow, raised upon a square black onyx base, H37.5cm Condition Report Fully working with PAT test certificate and 3 spare bulbs (all working)Click here for further images, condition, auction times & delivery costs
Lot 307
A Salex Quarter-Plate Tropical reflex Camera,with Ross Xpres 6in f/4.5 lens no.99373, tan leather bellow and holding hood and brass bound teak body Footnotes:Provenance: Christie's South Kensington, Cameras and Optical Toys including The James L. Bikoff Collection of Tropical Cameras, 15 May 1992, Lot 291This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 318
A Graefe & Bardorf Tropical Clarissa Camera,4.5cm x 6cm with Helioplan 75mm f/4.5 lens no. 247095, brown leather bellow and brass mounted teak body, Footnotes:Provenance: Christie's South Kensington, Cameras and Optical Toys including the James L. Bikoff Collection of Tropical Cameras, 15 May 1992, Lot 400.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 598
BELLOW SAUL: (1915-2005) Canadian-American Writer, Nobel Prize winner for Literature, 1976. A scarce D.S., Saul Bellow, at the conclusion and again with his initials SB at the foot of the first page, two pages, 4to, n.p., 15th March 1987. The partially printed document, completed in typescript, is a Memorandum of Agreement made between Saul Bellow Ltd and the publishers Editions Rene Julliard of Paris in which Bellow grants to the publishers licence to publish a French translation of Bellow's More Die of Heartbreak, the publishers agreeing to make 'An advance of forty-five thousand US Dollars ($45,000) payable on signature of this agreement on account of a royalty of eight per cent (8%) of the published price on the first five thousand (5,000) copies sold, ten per cent (10%) of the published price on the next five thousand (5,000) copies sold, twelve per cent (12%) of the published price on the next ten thousand (10,000) copies sold and thirteen (13%) of the published price on all copies sold above the number of twenty thousand (20,000)', further agreeing to send Bellow four copies and that he shall 'have approval of the publisher's choice of translator and of the translation' and detailing conditions regarding the sale of serial rights, book club rights and sales to pocketbook publishers and that the sums of money should be paid to A. M. Heath & Co. Ltd in London. Countersigned at the conclusion of each page (once with initials) by a representative of Editions Rene Julliard. A few small, very minor staple holes to the upper left corner of each page, otherwise VG More Die of Heartbreak (1987) was Bellow's tenth novel and, like many of his other works, is grounded more in the development of character than in the growth of action.
Lot 319
A needle packet box and a needle flannel, the box in blue velvet and of book form decorated with floral 'scraps', the interior with colour print 'To The Front', with a four panel concertina with three packets present for Morris and Yeomans, 7 x 5.5cm, the flannel of bellow form in silk embroidered with flowers, 8cm. (2)
Lot 185
TWO 19TH CENTURY GLASS FLASKS of bellow form, one clear, the other with blue decoration, both with applied prunts, the largest; 23cm (2) Condition report: clear one – rough around nozzle opening, possibly some chips/damage, otherwise ok. Blue one – bit rough around nozzle opening, possible chips,/damage, some of the prunted decoration is rough but not missing.
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