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John Lee Auction Price Results

John Lee (1850-1870)  Please Register/Login to access your Invaluable Alerts

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Lot 12: LEMON, MARK, EDITOR OF PUNCH

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Description: Album containing approximately one hundred ten autograph letters addressed to Lemon and others, five pencil drawings, and sixteen clipped signatures and franked envelopes, pasted, tipped-in, or laid-in 8vo volume, half-leather. Spine perished, covers detached but present. Some dampstaining, wear and fading. Mark Lemon (1809-1870) was the author of more than sixty plays and many novels. He served as the first editor of Punch from 1841 to his death. Highlights of the album include: DICKENS, CHARLES. Seven autograph letters, six signed with initials, one with signature cut off, n.p., 1847-1855, six to Lemon, one to John Leech, 8vo, together ten pages, discussing Lemon's trip to the United States, illustrators, John Leech and his hours, appointments, etc. Together with three envelopes addressed and franked by Dickens. THACKERAY, WILLIAM MAKEPEACE. Autograph letter signed, one page, 8vo, n.d. to Mrs. Senior. HUNT, LEIGH. Two autograph letters signed, n.d., 12mo, together four pages. GARIBALDI, GIUSEPPE. Two autograph letters signed, 1861 and 1867 BROWNING, ROBERT. Autograph letter signed, one page, London, 23 May 1837 about the publication of Sordello, "a work which has resulted from considerable thought and some research". RUSKIN, JOHN. Autograph letter signed, to Mr. Halsted, n.p., n.d., discussing an exchange of etchings. GREENAWAY, KATE. Autograph letter signed, two and a half pages, 8vo, New Year's Day, n.y. to Mr. Locker. Other Victorian notables represented in the album by autograph letters include John Tenniel, Henry Wadsworth Longfellow, Douglas Jerrold (2), George Grote (2), Shirley Brooks (6), Richard Doyle, John Forster (5), Georg du Maurier (with caricature signature), Thomas Carlyle (autograph quotation signed), G.P.R James, etc. Among the 8vo pencil drawings are two by Hablot K. Browne ("Phiz") and one by Richard Doyle. C See Illustration.

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Lot 47: DICKENS, Charles (1812-1870). A Christmas Carol. In Prose. Being a Ghost Story of Christmas. London: Chapman & Hall, 1843.

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Description: 8 o (163 x 100 mm). 4 hand-colored etched plates by John Leech, 4 wood engravings in text by W. J. Linton after Leech. (Some scattered pale foxing.) Original gilt-decorated brown cloth, edges gilt, light green endpapers (front inner hinge cracked, spine a bit cocked, light wear to extremities); quarter morocco slipcase. Provenance : Theodore P. Walker (bookplate in slipcase). FIRST EDITION, FIRST ISSUE, title-page printed in red and blue, half-title and verso of title-leaf printed in blue, "Stave I" on page [1], and green endpapers. Philo Calhoun and Howell J. Heaney, "Dickens' Christmas Carol After a Hundred Years: A Study in Bibliographical Evidence," in: Papers of the Bibliographical Society of America, 39 (Fourth Quarter, 1945), pp. 271-317; Eckel, p. 110; Sadleir 684; Smith II:4. [ Tipped to half-title: ] DICKENS. Autograph letter signed ("Charles Dickens" with paraph), TO JOHN LEECH, Devonshire Terrace, "Saturday." A LETTER FROM THE AUTHOR TO THE ILLUSTRATOR: "Your note has only just come (6 o'clock), and I am engaged this evening. But I will come round to you tomorrow at 3 in the afternoon.".

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Lot 61: Charles Frederick Goldie (1870-1947)

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Description: Tamaiti Tukino, a Chieftainess of the Ngatituwharetoa Tribe (aged 95 years) signed 'C.F. Goldie' (upper left) oil on panel 7.15/16 x 57/8in. (20.1 x 15cm.) PROVENANCE with John Leech (fragment of a detached label), Auckland, December 1919. EXHIBITION Auckland, Auckland Society of Fine Arts, 1919, no.127 ("Memories" - Tamaiti Tukino aged 95 years, 8gns.). NOTES A typed inscription on the label describes the subject: 'TAHAITI ( sic ) TUKINO, A Chieftainess of the NGATITUWHARETOA TRIBE (aged 95 years) lived at TOKAANU, LAKE TAUPO, a descendant of the very noted Chief TE HEU HEU of the great ARAWA TRIBE. The background in ( sic ) of RAUPO, a reed used for house building. Dress A KOROWAI mat, Neck ornament. A Greenstone HEI TIKI. Ear pendant of Greenstone.'.

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Lot 81: Leech (John) "Young Troublesome;" or, Master Jacky's Holidays, first edition, half title,

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Description: hand-coloured etched vignette title by John Leech, 11 hand-coloured etched plates by John Leech, light scattered spotting, original paper covered boards, worn, rebacked, g.e., later cloth slipcase, [Tooley 300], oblong 8vo, Bradbury & Evans, [1850]-The Comic English Grammar, first edition, Richard Bentley, 1840; The Comic Latin Grammar...the Second Edition, Charles Tilt, 1840, 2 volumes bound in one, etched frontispieces by John Leech, 8 etched plates by John Leech, woodcut illustrations, slight scattered spotting, later crushed blue morocco gilt by ?Tout, spine gilt in compartments, ornate gilt borders to covers, ornate roll-tooled gilt turn-ins, watered silk doublures, very lightly rubbed at corners, 8vo in 6s-Maxwell (William Hamilton) The Fortunes of Hector O'Halloran...first edition, etched frontispiece and 26 etched plates by John Leech, later calf gilt, spine gilt in compartments, triple gilt filet borders to covers, roll-tooled gilt turn-ins, rubbed along spine and at extremities, g.e., bookplate of Oliver Henry Perkins, 8vo, Richard Bentley, [1842-43] (3).

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Lot 82: Leech (John) ''Young Troublesome''; or Master Jacky's Holidays..., first edition, half-title,

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Description: hand-coloured etched vignette and 11 hand-coloured etched plates by John Leech, slight browning, original paper covered boards, rebacked, worn and stained, g.e., [Tooley 300], oblong 8vo, Bradbury and Evans, [1850]-Daniel (George) Merrie England in the Olden Time, 2 volumes, half-titles, hand-coloured etched frontispieces and 3 hand-coloured etched plates by John Leech, woodcut title vignettes and illustrations, slight spotting and browning to the plates, later calf gilt by Riviere & Son, spines gilt in compartments, triple gilt filet borders to covers, roll-tooled gilt turn-ins, lightly rubbed along spines and extremities, t.e.g., bookplates and booklabels of Robert Ludlow Fowler, 8vo in 12s, Richard Bentley, 1842 (3).

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Lot 112: (CHILDREN'S BOOKS) Comstock, John Lee NATURAL HISTORY OF QUADRUPEDS..., New York: 1850, wood engraved plates and cuts incl. 1

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Description: fold-out, 29 x 23 cm., (some soiling and chipping to printed paper boards); together with approx. 16 primers including TURNER'S PICTURED ALPHABET, Philadelphia and New York: n.d., 26 hand-colored engravings accordion folded, (front cover detached, lacks back cover, some plates stitch repaired or with minor foxing); THE CHILDREN OF THE WOOD, Cooperstown: H. & E. Phinney: 1839, (creases); THE NATURAL HISTORY OF ANIMALS and...THE CHILDREN IN THE WOOD, Concord: Boyd and White, 1839; THE HISTORY OF BEASTS, Bennington: Darius Clarke, 1825, (worn and soiled wrapper); THE CHILD'S CABINET, Concord: John W. Moore & Co., 1832. together with Bunyon, John THE HOLY WAR, MADE BY SHADDAI UPON DIABOLUS.., London: 1724, (w.a.f.).

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Lot 125: SMITH,

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Description: Albert Richard (1816-60). The Struggles and Adventures of Christopher Tadpole at Home and Abroad, London: Richard Bentley, 1948. 8o (210 x 132mm). Wood-engraved portrait of the author by Baugniet and 32 plates by John Leech. (Some very light staining, a few spots.) Finely-bound in 19th-century scarlet half morocco gilt by Henry Young and Sons of Liverpool, spine gilt in compartments, top edges gilt (a few light scuff marks to extremities), original wrapper to Part I. inserted at the front, inscribed, "... with Albert Smith's regards" (the recipient's name cropped). FIRST EDITION. With Frank E. Smedley's Frank Fairlegh, or Scenes from the Life of a Private Pupil (London, [1850]), Harry Coverdale's Courtship, and all that came of it (London, [?1854]) and Lewis Arundel; or, the Railroad of Life (London, 1855), attractively-bound in uniform green half calf gilt, and 5 other works in 9 volumes bound in half calf gilt. (13).

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Lot 129: A quantity of unframed illustrations by or attributed to Lewis C.E. Baumer (1870-1963),

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Description: H.G. Jalland, John Leech, M.T. Maud, Alfred Crowquill and others, of various subjects, the majority figurative, including: Gunners in the trenches; Aphrodite-Alexandra; A gentleman at Newmarket; Figures hunting on horseback; "May I ask if your pears are real?"; and others, some signed and variously inscribed. H.G. Jalland, John Leech, M.T. Maud, Alfred Crowquill and others, of various subjects, the majority figurative, including: Gunners in the trenches; Aphrodite-Alexandra; A gentleman at Newmarket; Figures hunting on horseback; "May I ask if your pears are real?"; and others, some signed and variously inscribed 73/4 x 10in. (19.8 x 25.4cm.) and smaller.

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Lot 133: [BARHAM, Richard Harris (1788-1845)]. The Ingoldsby Legends. London: Richard Bentley and

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Description: [BARHAM, Richard Harris (1788-1845)]. The Ingoldsby Legends. London: Richard Bentley and Son, [1870 or later]. 8° (202 x 135mm). Etched frontispiece and 17 plates after G. Cruikshank and J. Leech, some plates with 1870 imprint. Engraved title, 4 woodcut vignettes. Text ruled in red. Black morocco gilt by Kelly and Sons, coloured morocco onlays on covers and spine forming figures and objects from the Legends, red watered-silk doublures, gilt edges, original cloth gilt front cover and spine bound in at end. A FINE EXAMPLE OF A 'KELLIEGRAM' BINDING.

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Lot 166: MICHAEL FREDERICK HALLIDAY (1822-69)

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Description: THE BLIND BASKET MAKER WITH HIS FIRST CHILD signed and dated MFHalliday/1856 l.r., oil on canvas 94 by 56 cm.; 37 by 22 in. Michael Halliday's The Blind Basket-Maker with his First Child - untraced since it was first exhibited in 1858 - is an important artistic rediscovery from the mid-Victorian period, as well as being a significant addition to the opus of works by a little known but fascinating Pre-Raphaelite painter. Information about Halliday's life is limited. It seems he was born the son of a ship's captain. The circumstances of his upbringing and education are not known. From 1839 he worked as a parliamentary clerk at the House of Lords, a post which allowed him the time and independence to follow a part-time career as an artist. In addition he seems to have conducted an amateur picture-dealing business - finding clients among his professional acquaintances for works by his Pre-Raphaelite friends. Halliday commenced his career as an exhibitor at the Royal Academy with a view at Moel Siabod, shown in 1853. He followed this in 1855 with the work upon which his modern reputation rests, The Measure for the Wedding Ring (ex Evelyn Waugh collection; Sotheby's Belgravia, 19 October 1971, lot 54). In 1856 he exhibited views made during a visit to the front during the Crimean War. The present painting was shown in the West Room of the Royal Academy in 1858, in company with works by Joseph Noel Paton, Edward Armitage and Frederic Leighton. There followed a gap of six years before Halliday exhibited at the Academy again (a work by him was rejected by the selection committee in 1860, and he may have suffered similar disappointments on other occasions). His career as an exhibiting artist was concluded in 1866 when he showed a Roman genre subject, and in 1869 he died. An obituary in the Art Journal described him as "one of the most successful amateur-artists of the day". `Mike" Halliday (as he was habitually known) was a close friend of both John Everett Millais and William Holman Hunt. The former seems to have been in touch with Halliday from about 1853. In the autumn of 1854 the two went together to Winchelsea where Millais worked on the background of his painting L'Enfant du Regiment (Yale Center for British Art) and the landscape of The Blind Girl (Birmingham City Art Gallery). Humorous sketches by Halliday survive from this and other expeditions that the two embarked on. Millais and Halliday shared a passion for fox-hunting, and from about 1854 onwards kept hunters at stable in Leicestershire. Halliday was not a natural horseman, and his exploits on the hunting field were the inspiration of his friend John Leech's Punch cartoons "The Adventures of Mr Tom Noddy". Later on Halliday and Millais stayed together in Scotland to shoot and fish. The friendship with Hunt seems to have dated from about the same time as that with Millais. In the autumn of 1855 Halliday travelled to the Near East (this was the same journey that led to his Crimean watercolours). His purpose was to meet up with Hunt and to persuade him to return to England for the sake of his health. In due course the two voyaged back to London via Marseilles and Paris, and in 1856 they set up (with Robert Martineau) in a house at 14 Claverton Street in Pimlico. This arrangement was described in a letter from William Michael Rossetti to William Bell Scott of 14 April: "Joined with [Hunt] there are Halliday and Martineau, whom you may have heard of, or possibly seen; the latter an artist, the former something between artist and amateur. Both go in for Preraphaelitism, and both look up to Hunt with a genuine reverence and affection." In 1857 Hunt and Halliday moved to a larger house in Tor Villa, Campden Hill. In addition, Halliday was on friendly terms with Gabriel and William Michael Rossetti; the latter said of Halliday after his death: "I have hardly known any one of whom the term "a good fellow" might be more properly and fully applied." If Halliday's forays as an exhibitor of paintings may be regarded as those of an amateur, he was none the less closely attuned to current ideas about the practice of art. The Blind Basket-Maker with his First Child shows the clear influence of his friends and artistic mentors Millais and Hunt. The composition - a couple seen standing at full length within a closed interior - is reminiscent of a variety of works by the two of them, for example Hunt's Claudio and Isabella (Tate Gallery) of 1850-53, or of the type which Millais was subsequently to explore in works such as The Black Brunswicker (Lady Lever Art Gallery, Port Sunlight) later in the decade. Similarly, the minute and painstaking detail within the work, as well as the careful observation of the local and reflected colour, are the essential characteristics of Pre-Raphaelitism in its primary phase. The painting tells its story by means of an arrangement of symbolical attributes - references to sight, sound and touch, for example. In this sense, the direct progenitor of Halliday's painting may be recognized as Millais" Blind Girl (with which, as has been seen, Halliday was closely involved). In each work the spectator is invited to sympathize with and understand - the misfortune of a person who cannot see. A colour sketch for the present work is in the Forbes Magazine Collection, New York. Exhibited: London, Royal Academy, 1858, no.459 Literature: Art Journal, 1858, p.169 Art Journal, 1869, p.272.

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Lot 178: JAMES P. SMITH (1803-1888)*

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Description: Smith, James John Leeds full face in black jacket, matching waistcoat, white shirt and black tied cravat; the reverse inscribed A likeness of John Leeds/Westmith.Kerr, formerly of/Easton E. Shore of Maryland/It was taken when he was/27 years & 3 months old, by Jas. P. Smith/of Philada Penna./April 1837 signed and dated watercolor on ivory 2.1/8 x 1in. NOTES As the inscription on the back of this portrait miniature of John Leeds indicates, James Smith worked as a portrait miniaturist in Philadelphia. He exhibited at the Pennsylvania Academy from 1824 to 1850.

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Lot 259: MYSORE COMPANY SCHOOL "Album of native and European Portraits."

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Description: Mysore: circa 1830-1850. 2 (degree) (420 x 285 mm). Album containing 802 portraits of European and native officials at the court of Mysore, pencil and wash and watercolour on paper mounted on card, each with captions and six leaves of manuscript index in Kannada. Original morocco for the Mysore Palace Library, covers with blindstamped foliate central and corner panels (covers worn, upper joint broken, head of spine torn). LITERATURE: G.R. Josyer. "History of Mysore and the Yadava Dynasty." [1850] Krishnarajah Wadiyar III of Mysore (1794-1868) was 5 years old on the death of Tippu Sultan in the siege of Seringapatam. Tippu Sultan and his father Haidar Ali had usurped the power and finally the throne of the Yadava Dynasty, hereditary rulers of Mysore since the 15th Century. The deparadations of Tippu Sultan, his aggressive policies and intrigues with the French finally involved the British. During the siege of Seringapatam Tippu was killed on 4 May 1799, and Krishnarajah Wadiyar III was installed on the throne of Mysore. The Governor General, the Ear of Mornington appointed a native regent, Purneah, who, in consultation with the British resident Colonel Close, restored and reformed the civil administration, and Arthur Wellesley (later Duke of Wellington), who had taken part in the siege of Seringapatam, was given command of the military force quartered in Mysore. Purneah retired in 1812 and by 1830 a variety of causes led the new Governor General Lord William Bentinck, described by one writer as a 'chronic annexationist', to take over the government of Mysore. However, recent research has shown that during the reign of Krishnarajah Wadiyar, Mysore 'attained splendour and exaltation'. The Maharajah was a spirited person who undertook numerous projects for civic improvement. During his rule the Court of Mysore became the only seat of learning in the Deccan. He patronised learning and the fine arts. In the field of letters his patronage and personal achievements were outstanding. A lithographic press was established at the Palace. His court was patronised by a variety of scholars proficient in many fields of learning. A year before his death Queen Victoria conferred on him the Order of the Knight Grand Commander of the Star of India. The 802 portraits in this album are mounted on card and inserted into shaped arched window mounts outlined in purple wash within pasted leaves, with 9 miniatures to a page. Several portraits are highly finished with jewellery, costume, uniforms in fine detail, and have been executed by three (?) different native court artists. They include senior ministers, palace officials, politicians, craftsmen carrying tools of their trade, such as builders, carpenters, tailors, religious portraits include those of Shawite and Jain priests, an Eastern-rite Christian priest, and others. Europeans at the court include the ADC and bodyguard of the Nawab of Channapatna, coachmen and their families, a wrestler Victor John Lees; a Chinese footman and others.

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Lot 636: DICKENS, Charles (1812-1870)--John FORSTER (1812-1876). The Life of Charles Dickens. London: Bradbury, Evans, and Co. for Chapman and Hall, 1872-1874.

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Description: 3 volumes in 6, 8o inlaid to 4o (283 x 222mm). Half-titles to the first parts of volumes I, II and III. Titles in red and black, specially printed for each part of this copy. Engraved frontispieces by R. Graves and J.C. Armytage after Daniel Maclise, W.P. Frith and another, 4 engraved plates by C.H. Jeens and J. Saddler after Maclise and S.L. Fildes, manucript facsimile and woodcut illustrations. EXTRA-ILLUSTRATED with 107 manuscript items, including a series of 9 autograph letters by DICKENS and approximately 800 18th- and 19th-century drawings, items of printed ephemera, including handbills and wrappers from Dickens' works in parts, and engraved, aquatint, mezzotint, lithographic, albumen photographic, and woodcut prints by Hablot Knight Browne ['Phiz'], George Cruikshank, John Leech, F.W. Pailthorpe, Seymour, and others after various artists, some hand-coloured or proofs before letters. Early 20th-century crimson crushed morocco gilt by Bayntun, the upper covers with central gilt tools of Dickens' signature, all covers with panels of gilt rules and pointill‚ lines joined by foliate cornerpieces, the spines gilt in 6 compartments divided by raised bands, titled in 2 and dated at the foot, the others decorated with central foliate tools within frames, roll-tooled gilt turn-ins, top edges gilt (extremities lightly rubbed, some covers faded on the margins). A VERY FINE COPY, EXTRA-ILLUSTRATED WITH A PROFUSION OF LETTERS AND PRINTS including 9 autograph letters signed to various correspondents, Devonshire Terrace, Tavistock House, Gad's Hill, office of All the Year Round, 1844-1869, discussing family and financial matters, considering a manuscript, refusing invitations, sending thanks and on other matters, together 9 pages, 8vo, autograph envelopes. The manuscript material also includes letters of friends and contemporaries of Dickens, of members of the Dickens family, and of others mentioned in the text, including GEORGE III (autograph letter signed to his son Frederick, Duke of York, Windsor, 13 June 1789, about a military appointment and manoeuvres, 1 page, 4to (worn at folds and soiled)), Benjamin DISRAELI (to Sir William Gallway, 29 May 1861, 'Lord Derby is very anxious, that the impending division should show the unity of the Conservative party', 4 pages, 4to ), Washington IRVING (1843, requesting an article about 'the late campaign'), W.M. THACKERAY, John Ruskin, Lord Lytton (3), W.E. Gladstone, Robert Peel, Lord Palmerston, Henry Brougham, Giuseppe Mazzini, John Franklin, John Forster (2), Holman Hunt, Edward Landseer, J.E. Millais, Revd Sydney Smith, Thomas Moore, Charles Lyell, Richard Owen, George Henry Lewes, Mark Lemon, W.H. Wills, Daniel Maclise, William Macready and others. The additional printed material encompasses a similarly broad range, and includes portraits of Dickens at different ages (including an original pencil drawing of Dickens by F.W. Pailthorpe) and of the writers Hans Christian Andersen, Robert and Elizabeth Barrett Browning, Wilkie Collins, George Sand, and W.M. Thackeray, Dickens' illustrators Hablot Knight Browne, George Cruikshank, and John Leech, and many historical, contemporary and fictional characters related to the biography. The other prints depict locations significant in Dickens' life and works, and include illustrations and title pages from his novels, and photographic facsimiles of the manuscripts. (6).

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