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Lot 204
ink on paper, monogrammed, titled label verso mounted, framed and under glass image size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, Edinburgh Note: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.
Lot 148
acrylic on board, signed, titled label verso framed and under glass image size 22cm x 22cm, overall size 34cm x 34cm Artist's label verso Note: Gail has always been a fan of unusual and imaginative art. As a child she discovered the paintings of Rodney Matthews and Roger Dean on album covers and posters, and admired their ability to create a whimsical version of ordinary things. At school, Salvador Dali was an artistic influence, and she was lucky enough to get up close to several of his paintings in the MoMA in New York. As a huge music fan, Gail briefly studied sound engineering after deciding she did not want to go to Art school (despite preparing a portfolio). However, she continued to paint while working and raising her two children, and decided to become a self-employed artist in 2011. For artworks where specific locations are featured, Gail uses photographs to help with initial building placement, but will manipulate and change the structures to provide the most pleasing composition. This manipulation is not only helpful when hiding some of the less attractive features of a scene, but allows her to enhance features which might normally be overlooked. Painting on either stretched canvas or canvas board, Gail will usually cover the whole area with a theme colour which dictates the overall mood of the finished piece. She will then sketch in the main features of the painting using pastel pencil, moving the lines with a wet paintbrush until the desired positioning is achieved. The painting is built up from there. Gail's work is exhibited widely at numerous galleries in Scotland.
Lot 605
* EDWARD ASHTON CANNELL (BRITISH 1927 - 1994), AFTER RAIN ON THE THAMES watercolour on paper, signed, titled label versomounted, framed and under glassimage size 50cm x 75cm, overall size 72cm x 95cmNote: Edward Ashton Cannnell was born in Port Erin in the Isle of Man in 1927. He commenced his art training at the Isle of Man Art School and continued his studies at Liverpool College of Art. He was qualified as a teacher and had spent 20 years in the field of art education when in 1973 he decided to devote all his time to his painting. He was a member of the Langham Club, the London Sketch Club, the Art Club of the Royal Society of Painters in Watercolours, the United Society of Artists. He was a fellow of the Royal Society of Arts and a former chairman of the Arts Society of Paddington. He has carried out commissions for British Petroleum, Bass International, Foyles and Cassells. He exhibited regularly in London, including the Royal Institute of Painters in Watercolours, the Royal Society of British artists and the Royal Society of Marine Artists.
Lot 615
FRANK CRAWFORD PENFOLD (AMERICAN 1849 - 1921), SKETCH - WOMAN READING A FRENCH BOOK oil on panel, signedframedimage size 20cm x 16cm, overall size 28cm x 23cm Note: artist, teacher, lecturer, known for marine/seascape, genre, landscape, and portrait paintings, especially of the Brittany region of France. Penfold came from a family of artists, the son of the portrait painter, William Penfold (English born-American, 1827-1875), who was active in Lockport and Buffalo, New York and his mother, Maria Chubbuck (née Chapman) Penfold (1828-1919) married September 19, 1847, was also an accomplished artist. He had six younger siblings to include, brothers, John Penfold (1850- ), William Chapman Penfold (1853-1928) who became a fresco artist in Erie, PA, Charles Chubbuck Penfold (1854-1911) who designed engraved and manufactured fine jewelry in Buffalo, NY, beginning in 1872, and sisters Ida Parmelia Penfold-Thayer (1854-1934), Lillian "Lillie" Penfold-Baker (1857-1915) and Marie Dollie Penfold (1867-1927). Frank’s father originally wanted him to become an engraver, but one day at school Frank drew a sketch of the old schoolhouse in Lockport, NY in the back of an atlas. The principal at the time, Mr. Porter was charmed with the sketch and asked Frank to paint it on canvas. Frank and his younger brother used to clean up their father’s studio every evening, washing brushes and palettes, and unknown to his father, saved enough paint from his father’s palette to finish the piece. Mr. Porter was pleased with the painting and had it framed and exhibited. From that time forward Frank trained with his father in portraiture and other painting styles. One of his earliest known portraits was of "Addison Roberts" of Hornell, NY, husband of Marie (née Helmer) Roberts, painted in 1873. It was was also noted on the back of the painting that Penfold was listed as an artist in Buffalo and Paris. Frank had moderate success while living in Buffalo but decided to further his studies abroad. Around 1877, he travelled to France and later settled in Pont Aven, Brittany where he also taught in the artists’ colony. He studied in Finistère, Brittany, France and also trained at the Académie Julian in Paris in 1884. He occasionally returned to Buffalo, NY and in 1891, taught a class at the Buffalo Fine Arts Academy, Albright Art Gallery. On November 22, 1897, Frank married Jeannie "Jennie" Gerard (née Green-Wells [Wells adopted last name]) Redfern-Corbett-Penfold (1849-1921) at her home in Johnson Park, Buffalo, NY with whom he had an adopted daughter (from Jeannie's brother, Charles Edward Green, whom she and Frank later legally adopted on June 3, 1912), named Jane "Jennie" May Green Penfold-Harkness-Pinnington (1892-1970). Frank Penfold remained an influential figure in the Buffalo art scene and also helped organize the Municipal Art League in Chicago, IL in 1901. He was a member of the Buffalo Society of Artists and served as President in 1896, Buffalo, NY. He alternated between two homes, one in Pont Aven, France where he maintained a studio in Concarneau, Finistère, Bretagne, France and another at 32 Johnson Park, Buffalo, NY.
Lot 606
* EDWARD ASHTON CANNELL (BRITISH 1927 - 1994), ON THE RIVER watercolour on paper, signedmounted, framed and under glassimage size 53cm x 72cm, overall size 77cm x 94cmNote: Edward Ashton Cannnell was born in Port Erin in the Isle of Man in 1927. He commenced his art training at the Isle of Man Art School and continued his studies at Liverpool College of Art. He was qualified as a teacher and had spent 20 years in the field of art education when in 1973 he decided to devote all his time to his painting. He was a member of the Langham Club, the London Sketch Club, the Art Club of the Royal Society of Painters in Watercolours, the United Society of Artists. He was a fellow of the Royal Society of Arts and a former chairman of the Arts Society of Paddington. He has carried out commissions for British Petroleum, Bass International, Foyles and Cassells. He exhibited regularly in London, including the Royal Institute of Painters in Watercolours, the Royal Society of British artists and the Royal Society of Marine Artists.
Lot 607
* EDWARD ASHTON CANNELL (BRITISH 1927 - 1994), HAZY SUNLIGHT watercolour on paper, signed, titled versomounted, framed and under glassimage size 36cm x 52cm, overall size 55cm x 70cmNote: Edward Ashton Cannnell was born in Port Erin in the Isle of Man in 1927. He commenced his art training at the Isle of Man Art School and continued his studies at Liverpool College of Art. He was qualified as a teacher and had spent 20 years in the field of art education when in 1973 he decided to devote all his time to his painting. He was a member of the Langham Club, the London Sketch Club, the Art Club of the Royal Society of Painters in Watercolours, the United Society of Artists. He was a fellow of the Royal Society of Arts and a former chairman of the Arts Society of Paddington. He has carried out commissions for British Petroleum, Bass International, Foyles and Cassells. He exhibited regularly in London, including the Royal Institute of Painters in Watercolours, the Royal Society of British artists and the Royal Society of Marine Artists.
Lot 608
* EDWARD ASHTON CANNELL (BRITISH 1927 - 1994), LONDON BRIDGE watercolour on paper, signedmounted, framed and under glassimage size 34cm x 51cm, overall size 54cm x 69cmNote: Edward Ashton Cannnell was born in Port Erin in the Isle of Man in 1927. He commenced his art training at the Isle of Man Art School and continued his studies at Liverpool College of Art. He was qualified as a teacher and had spent 20 years in the field of art education when in 1973 he decided to devote all his time to his painting. He was a member of the Langham Club, the London Sketch Club, the Art Club of the Royal Society of Painters in Watercolours, the United Society of Artists. He was a fellow of the Royal Society of Arts and a former chairman of the Arts Society of Paddington. He has carried out commissions for British Petroleum, Bass International, Foyles and Cassells. He exhibited regularly in London, including the Royal Institute of Painters in Watercolours, the Royal Society of British artists and the Royal Society of Marine Artists.
Lot 408
A notebook of Titanic interest with poems and sketches, including an entry dated 14th April 1912 with a sketch of the Titanic, 16 x 10.2cmtogether with two blank White Star Line baggage labels,one listed 'wanted' the other 'Not wanted on voyage'15.5 x 12.3cm (2)Condition ReportWith handling creases to the pages, some cocking to some. Minor foxing. Some pages dogearred
Lot 504
ILLUSTRATED: James, Grace: Green Willow and other Japanese Fairy Tales. Macmillan, 1910, 1st. Edn. With 40 tipped-in colour plates. Gilt pictorial boards, little rubbed, VG; SIGNED LIMITED Edn: Donald McKay (ill): Mark Twain's The Adventures of Tom Sawyer, Random House, 1930, Limited edn. #21 of 2000 copies, Signed by McKay. Leather backed pictorial boards and slipcase. Vg; Sporting Pictures at Lavington Park - The Rt Hon Lord Woolavington. Privately Printed, 1927. Full vellum, with a typed letter, Signed from Lord Woolavington, dated March 12, 1928 and tipped-in to the front pastedown. PLUS: A typed letter, Signed from John Macdonald-Buchanan to Roy Heron, dated 23 Sept, 1997 (loosely inserted); newspaper cutting concerning Captain John Macdonald-Buchanan; etc; Stratton, Helen (ill); The Arabian Nights' Entertainments. Blackie, no date (1906) School prize label to front blank, dated. Folio, Pictorial boards; Phil May's Sketch-Book. 1895, 1st. Folio. Covers rubbed; Phil May's ABC. 1897, 1st. Folio. Pictorial boards, little rubbed; Gibson, C D: Our Neighbours. New York, 1905, 1st. Edn. Oblong folio. Original pictorial boards, tear and damp stain, o/w Good+; Yeats, John: N. W. 1: The Camden Town artists, a social history. 2007, Inscribed & Signed to Roy Heron. Wrappers, Fine; Edmund Dulac's Picture-Book for the French Red Cross. Hodder & Stoughton, (1915). 20 tipped-in plates (19 coloured). 4to. (2 copies); PLUS: Coloured mounted plate by Frank Adams; + Cecil Aldin: 20 colour plates from his: Zoo Babies. (Qty)
Lot 483
Cecil ALDIN (ill): Byron, May: Cecil Aldin's Merry Party. Tabitha's Tea Party. Henry Frowde, no date (1921)? 1st. Edn. With five colour plates, including a double-page one. Pictorial boards, rubbed and spine chipped with loss; Just Among Friends, Pages from My Sketch Books. New York, Charles Scribner's sons, 1934, 1st. Edn. 4to. DW. Very Good+; La Journee d'un chien. 1903, 1st. French edition, With 28 Colour Plates. Folio, Good+; Dogs of Character. Eyre & Spottiswoode, 1927, 1st. Edn. DW. 4to. Very Good+; An Artist's Models. Witherby, 1930, 1st. Edn; Dogs of Every Day. Eyre & Spottiswoode, 1933, 1st. Edn. 4to. Cover rubbed. (6)
Lot 120
Hale (Kathleen) A Collection of correspondence and original sketches, comprising 2 sketches titled 'Savage drawing' and 'Bella Plus', in pen and pencil, 1 autograph letter signed and 2 typed letters signed to Tom Maschler her publisher, 7pp., Oxford, 20 August 1970 - 29 June 1972, discussing potential works for publication and the presence of the sketches, folds, some loss to page margins (5 pieces) *** An interesting group - the "savage" sketches entitled 'The Gay Seventies Hostel' are figures of six elderly and infirm guests therein, with a list of the Matron's rules, beginning: "All Inmates to be in bed by 9:30pm. No " " [inmates] to steal the 2nd helpings at meal times from less alert inmates." Below the images Hale notes "A savage drawing - one aspect of me seldom seen. Destroy it." The other sketch appears to be a draft for the contents and title-pages for a book introducing a new, teddy-bear character called "Bella Plush".
Lot 204
* LADY LUCINDA MACKAY (SCOTTISH b. 1941), BATMAN IN DIRLETON ink on paper, monogrammed, titled label versomounted, framed and under glassimage size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.
Lot 148
* GAIL STIRLING ROBERTSON, REEKIE LUMS acrylic on board, signed, titled label versoframed and under glass image size 22cm x 22cm, overall size 34cm x 34cm Artist's label versoNote: Gail has always been a fan of unusual and imaginative art. As a child she discovered the paintings of Rodney Matthews and Roger Dean on album covers and posters, and admired their ability to create a whimsical version of ordinary things. At school, Salvador Dali was an artistic influence, and she was lucky enough to get up close to several of his paintings in the MoMA in New York. As a huge music fan, Gail briefly studied sound engineering after deciding she did not want to go to Art school (despite preparing a portfolio). However, she continued to paint while working and raising her two children, and decided to become a self-employed artist in 2011. For artworks where specific locations are featured, Gail uses photographs to help with initial building placement, but will manipulate and change the structures to provide the most pleasing composition. This manipulation is not only helpful when hiding some of the less attractive features of a scene, but allows her to enhance features which might normally be overlooked. Painting on either stretched canvas or canvas board, Gail will usually cover the whole area with a theme colour which dictates the overall mood of the finished piece. She will then sketch in the main features of the painting using pastel pencil, moving the lines with a wet paintbrush until the desired positioning is achieved. The painting is built up from there. Gail's work is exhibited widely at numerous galleries in Scotland.
Lot 205
* LADY LUCINDA MACKAY (SCOTTISH b. 1941), MADRID CITY CENTRE oil on canvas, signed, titled and dated '17 versoframedimage size 41cm x 51cm, overall size 49cm x 59cm Exhibition label verso: 1 - 15 September 2018, The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.
Lot 149
* GAIL STIRLING ROBERTSON, SOUTH QUEENSFERRY SMOKE acrylic on board, signed, titled versoframed and under glass image size 17cm x 17cm, overall size 32cm x 32cm Artist's label versoNote: Gail has always been a fan of unusual and imaginative art. As a child she discovered the paintings of Rodney Matthews and Roger Dean on album covers and posters, and admired their ability to create a whimsical version of ordinary things. At school, Salvador Dali was an artistic influence, and she was lucky enough to get up close to several of his paintings in the MoMA in New York. As a huge music fan, Gail briefly studied sound engineering after deciding she did not want to go to Art school (despite preparing a portfolio). However, she continued to paint while working and raising her two children, and decided to become a self-employed artist in 2011. For artworks where specific locations are featured, Gail uses photographs to help with initial building placement, but will manipulate and change the structures to provide the most pleasing composition. This manipulation is not only helpful when hiding some of the less attractive features of a scene, but allows her to enhance features which might normally be overlooked. Painting on either stretched canvas or canvas board, Gail will usually cover the whole area with a theme colour which dictates the overall mood of the finished piece. She will then sketch in the main features of the painting using pastel pencil, moving the lines with a wet paintbrush until the desired positioning is achieved. The painting is built up from there. Gail's work is exhibited widely at numerous galleries in Scotland.
Lot 542
CONRAD, Joseph (1857-1924). The Mirror of the Sea, London, 1906, 8vo, original cloth. FIRST EDITION, IMPORTANT PRESENTATION COPY, inscribed on the front free endpaper, "To Miss Hallowes from her friend Joseph Conrad. 1906."CONRAD, Joseph (1857-1924). The Mirror of the Sea. Memories and Impressions. London: Methuen & Co., 1906. 8vo (190 x 130mm). Half title, publisher's advertisement on the verso of the half title, the title printed in red and black, 40-pages of publisher's advertisements at the end dated August 1906 (the half title with short clean tear at the foot without loss, some light staining, more pronounced to the leaves at the front and the end, occasional spotting). Original green cloth, the spine lettered and decorated in gilt, top edges gilt, others uncut (the gilding on the spine faded, lightly stained, inner hinges weak). Provenance: The Property of a Collector. FIRST EDITION of this collection of autobiographical essays. IMPORTANT PRESENTATION COPY, inscribed on the front free endpaper, "To Miss Lilian Hallowes from her friend Joseph Conrad. 1906." The recipient of this presentation copy, and the following three lots, was Lilian Mary Hallowes (1870-1950) who, despite being Joseph Conrad's literary assistant and amanuensis from 1904 to 1924, remains a somewhat elusive and shadowy figure. As Borys Conrad noted of her in his memoir of 1970, "little or no mention has been made in the biographies of my Father of the lady who, after several unsatisfactory candidates, eventually occupied that post." See David Miller's article, "Amanuensis: A Biographical Sketch of Lilian Mary Hallowes, 'Mr Conrad's Secretary'," in The Conradian, vol. 31, no. 1 (Spring 2006), pp.86-103, in which he states, "That lady, invariably referred to in Conrad's letters as Miss Hallowes, will always be an incomplete figure, somehow very Conradian in the manner in which she can, and indeed does, disappear from view for long periods." See also Knowle and Moore's Oxford Reader's Companion to Conrad (London, 2000, pp.147-148) for a brief account of Hallowes' relationship with Conrad. Cagle A11a; Keating 67: "The book is scarce in untrimmed [i.e. uncut] state, by far the greater part of the edition having been issued with trimmed edges"; Smith 12; Wise 16: "Regarding the book Mr Conrad has remarked :- 'I have a special feeling for these pages. Twenty best years of my life went to the making of them. As for the rest I approached the task in the spirit best expressed by the quotation on the title-page [i.e. '... for this miracle or this wonder/troubleth me right gretly', from Boethius]. The text of The Mirror of the Sea comprises forty-six Sections, numbered in Roman capitals, and grouped under fifteen titles. The majority of these sections had appeared previously in serial form ..."
![[IRVING, Washington (1783-1859)]. The Alhambra, London, 1832, 2 volumes, large 8vo, contemporary calf-backed blue paper board](https://cdn.globalauctionplatform.com/1aab0341-b6d1-467e-a6a2-b22f009e4036/69063d46-4f15-41ba-b17f-b22f00a04459/468x382.jpg)
Lot 575
[IRVING, Washington (1783-1859)]. The Alhambra, London, 1832, 2 volumes, large 8vo, contemporary calf-backed blue paper boards. FIRST ENGLISH EDITION. With 4 other works by the same author in 6 vols. (8)[IRVING, Washington (1783-1859)]. The Alhambra. By Geoffrey Crayon. London: Henry Colburn and Richard Bentley, 1832. 2 volumes, large 8vo (225 x 145mm). Half titles, one-page of publisher's advertisements inserted at the front of vol. II and 4-pages at the end (variable mainly light spotting and staining). Contemporary [?or probably the original publisher's] calf-backed blue paper boards, uncut (some ink stains to spines, head of spines of vol. one chipped, lacks lettering-pieces, extremities rubbed). Provenance: "Lady Brooke, Great Oakley" (old signature on the front free endpapers of each vol.); "Ladies' Society" (see "Notice" below). FIRST ENGLISH EDITION of this collection of nine supernatural tales, and the last work published under the author's pseudonym "Geoffrey Crayon". It preceded the first American edition by about three weeks. A contemporary printed "Notice" is pasted onto the front free endpaper of vol. one, stating, "Many complaints having been made respecting the irregular manner in which the Books belonging to the Ladies' Society are forwarded. [sic] It is particularly requested that the Members belonging to this Society will forward the Books in circulating, immediately after the time allotted for keeping them is expired; a compliance with which would tend greatly to keep up and restore the regularity of the Society. N.B. It is requested that each Lady will forward the Books to the next Member free of any expense." The front pastedown of the same volume contains an autograph list of ladies who have borrowed the book during 1832, and the day and month on which they did so, commencing with Lady Brooke on May 18th. Bleiler The Guide to Supernatural Fiction 886; Langfeld & Blackburn Washington Irving: A Bibliography p.32; Wright I, 1373. With 4 other works by the same author in 6 volumes, namely Bracebridge Hall; or, The Humorists (London, 1822, 2 vols., 8vo, attractively bound in contemporary half calf gilt, FIRST ENGLISH EDITION), Old Christmas: from the Sketch Book of Washington Irving (London, 1876, 8vo, illustrated by R. Caldecott, original blue pictorial cloth gilt, FIRST SEPARATE EDITION THUS, the text first appearing as part of the Sketchbook of Geoffrey Crayon, Gent. in 1809), Knickerbocker's History of New York (New York, 1894, 2 vols., large 8vo, illustrations by Edward W. Kemble, original pictorial cloth gilt; first published in 1809) and The Alhambra (London, 1896, 8vo, illustrations by Joseph Pennell, original decorated cloth gilt, wear to upper cover, reprint). Provenance: The Property of a Collector. (8)
Lot 202
Laurence Stephen Lowry (1887-1976)The Contraption, 1975signed in pencil (in the margin), blindstamp for the Fine Art Trade Guildlithograph35 x 31cm; together with a print of the Lowry sketch for the Contraption (2). Generally good condition. Some mount burn and even toning throughout. Light foxing to the second print.
Lot 615
Frederick William Fairholt (c.1813-1866) The Roman Wall near Housesteads, Northumberland, ink sketch, 10.5 x 17.5 cm, frame, 27 x 27 cm, together with another drawing of The Court House in Carlisle, by the same hand (2), also Joseph Yelverton Dawbarn (1856-1943) Sheep in Winter, signed lower left, watercolour, 8 x 10 cm, frame 24 x 26 cm (total 3)
Lot 646
John White (1851-1933), A village street Getting Ready fo scene, showing a woman approaching a doorway with dog at heel, figures loading a wagon in the background, signed lower left, oil on canvas, 53 x 36 cm, frame 63 x 45 cm, together with a further oil titled 'Getting Ready for the Spring, A Branscombe Orchard, sketch from nature' with personal dedication from the artist dated Xmas 1916, by the same hand (2)
Lot 219
Carleton’s Country by Shaw. 1931; The Glamour of the South by Kelleher. 1929; Brendan Behan’s Island an Irish Sketch-Book drawings by Hogarth in dj; An Irish Journey by O’Faolain. Illustrated by Paul Henry; Sweet Cork of Thee; Over the Reefs; Lovely is the Lee in dj; Ireland by Barry O’Brien. 1905; Ireland by Inglis in dj and The Vanishing Irish by O’Brien. 10 hardbacks.
Lot 257
A brief sketch of various attempts which have been made to diffuse a knowledge of the Holy Scriptures, through the medium of the Irish language - William Sankey (Christopher Anderson), printed by Graisberry and Campbell, Dublin, 1818. 143, 16 p. Internally complete, originally bound in wrappers, rebound in hardcover. Sole edition, a rare publication.
Lot 104
A CARVED GILTWOOD AND CARTON PIERRE MIRROR LATE 18TH OR EARLY 19TH CENTURY 145cm high, 75cm wide The present lot draws inspiration from various 18th century mirror designs from notable 18th century designers such as Ince & Mayhew, John Vardy, Thomas Johnson, Thomas Chippendale, John Linnell and William Duffour. Amongst the contemporary London carvers, gilders and papier-mâché makers, perhaps the most celebrated was William Duffour (d. 1784) of Berwick Street (see G. Beard and C. Gilbert (eds), Dictionary of English Furniture Makers: 1600-1840, Leeds, 1986, p. 258). A sketch for a mirror by Thomas Johnson that shares similar motifs to the present lot is illustrated in E. White, Pictorial Dictionary of British 18th Century Furniture Design, 1990, p.386, pl. 98.
Lot 292
A PAIR OF REGENCY SIMULATED ROSEWOOD X FRAME STOOLS ATTRIBUTED TO GILLOWS, CIRCA 1815 44cm high, 51.5cm wide, 39cm deepProvenance: Spetchley Park, WorcestershireGillows illustrated X frame stools as early as the 1760s, making such stools for the Egerton family at Tatton Park, Cheshire around 1812-13 and related patterns were in the Gillows Estimate Sketch Book of 1827.
Lot 432
Y A FINE REGENCY ROSEWOOD AND BRASS MARQUETRY GAMES TABLE ATTRIBUTED TO GILLOWS, CIRCA 1815 Bearing a retailer's label for Norman Adams Ltd, 8-10 Hans Road, London SW3; the top with a sliding central panel inlaid with a parquetry chess board to one side, the hinged demi-lune ends opening to storage 76cm high, 106.5cm wide, 74cm deep Provenance: Retailed by Norman Adams Ltd., London Private Collection, Berkshire For a sofa games table with identical carving to the supports, see Christie's London, Important English Furniture (6601), 4th July 2002, Lot 176 (£10,158 incl. BP). See the Gillows Estimate Sketch Books (#3242) for almost identical illustrated carvings. For a writing or library table also attributed to Gillows with the same shell-carved feet, see Sotheby's London, Arts of Europe (L12305), 4th December 2012, Lot 521 (£18,750 incl. BP).
Lot 479
Y A REGENCY MAHOGANY SIDE OR 'CHAMBER' TABLE ATTRIBUTED TO GILLOWS, CIRCA 1815 With turned solid Goncalo Alves handles and solid mahogany drawer lining, the table finished on all sides to be used freestanding as required 73.5cm high, 68.5cm wide, 53cm deep The bedroom-apartment table relates to a sketch for this type which appears in Gillows' Estimate Sketch Book, dated 1810, and called by them a 'chamber table', (no. 344/144, p. 11, Westminster City Archives). Gillows supplied four tables of this pattern in 1811 to T.W. Egerton for Tatton Park, Cheshire (N. Goodison and J. Hardy, 'Gillows at Tatton Park, Cheshire', Furniture History, 1970, pp. 28, 30, 32 and 35, pl. 16B).
Lot 125
§ § Ethelbert White (English, 1891-1972) English church from the greenoil on canvassigned50 x 60cm Oil on original canvas in honest untouched condition, one small puncture hole near 9 o'clock, otherwise would benefit from a light clean, housed in probably the original oak frame, a part sketch of a lady's skirt and parasol verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 363
A pen and watercolour cartoon/sketch bearing the signature Louis Wain, of a cat crying, 26.5cm x 21cm, housed in early 20th century oak frameCONDITION REPORTS & PAYMENT DETAILSIMPORTANT * Descriptions do not include condition reports. Please contact us to if you require further information or images. * Please consider shipping costs before bidding as this may affect your decision to bid * Please familiarise yourself with our payment methods. All payments MUST be electronic
Lot 507
HOWARD GUEST (20TH CENTURY) A QUANTITY OF FRAMED AND UNFRAMED WATERCOLOURS ETC, framed pictures comprise include a black ink sketch 'De Solney Proposes', a watercolour evening landscape 'Windermere at Sunset', and a male nude figure study, unframed pictures include 'Home Farm - Derbyshire' a landscape, 'Tobermory Harbour - Scotland', 'Rooftops over Lincoln, Continental landscapes and villages, together with two continental indistinctly signed oils on paper depicting a harbour and fishing boats an unsigned portrait of a female figure and a Daler art case, approximate size 68cm x 89cm
Lot 513
PICKFORD WALLER (1873-1927) 'Three Ravens', pen and ink with designs for furniture verso, bears Chris Beetles label verso which details exhibitions, that it is monogrammed and dated 1897 and taken from a sketchbook, 16.5cm x 22cm, together with Paul Furneaux (Scottish b.1962) 'Night Leaves', woodcut print, numbered 1/1 , titled and signed in pencil, 17cm x 12cm, a charcoal sketch of three swallows in a nest, initialled and dated '25, 20cm x 18cm, a pen and ink sketch of a thrush, 14cm x 10cm, all mounted, framed and glazed (4) (Condition Report: generally good condition overall)
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