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FRAZER, JAMES G. 1854-1941. The Golden Bough: A Study in Magic and Religion (abridged edition). New York: MacMillan Publishing Co., 1963. 8vo. Original cloth, dust jacket. Wear to jacket at edges and corner, label added to jacket. WITH: Another copy, 1981.

"When I bought this book I don't know. I know I read it or a copy of it in the 1980s when writing The Vampire Lestat. It is essential to me." On the jacket spine she has added "Sacred!" The second volume is marked on the cover, "Gift to Stan from Anne 1985 / Save Always, AR."

(via Bonhams)

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Edgar Brandt Zephyrus Serpent Tray Bronze c. 1926

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Gabriel Argy-Rouseau 'Visages en Medallion' Night Light Pate de Verre, wrought iron c. 1928

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A SILVER AND AZURMALACHITE PENDANT NECKLACE, WILLIAM SPRATLING, TAXCO, MEXICO, CIRCA 1949-56

The pendant of intertwined spotted, azurmalachite snakes, suspended from a tube link chain; mounted in sterling silver; length 17 in.; signed WS 925

Footnotes

Literature: Illustrated: Penny C. Morrill, William Spratling and the Mexican Silver Renaissance, Harry N. Abrams, Inc. In Association with the San Antonio Museum of Art, San Antonio, TX, 2002, pg. 242, fig. 377

(Via)

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Replica Coronation Throne & Stone of Scone The Crown

Gold-painted and simulated oak fibre-glass throne faithfully recreated after the Gothic original, the arched panelled back with downswept arms mounted with tan leather, with Gothic arched panelled sides above a solid seat and pierced quatre-foil frieze enclosing a fibreglass copy of the Coronation Stone of Scone (Stone of Destiny), supported by four lions on a plinth base, with red velvet upholstered squab cushions, together with golden canopy used during the filming of the scene, with turned handles, to be held by bearers; and the Art Department design drawing for the Coronation canopy, the chair: 117cm wide x 72cm deep x 211cm high, (46in wide x 28in deep x 83in high) (3)

via: https://www.bonhams.com/auction/29243/lot/20/a-reproduction-of-saint-edwards-chair-the-coronation-chairseason-1-episode-5-smoke-and-mirrors-3/

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attrib. Claude Galle (French, 1759-1814) Mantle Clock Gilt Bronze, Rouge Griotte Marble

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Italian Panel, 16th Century Mythological & Biblical Scenes

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The Message of the March Wind by William Morris Illuminated by Gordon Forsyth (1879-1952) Gifted from the artist to artist Gwladys M. Rodgers of Pilkington's Royal Lancastrian Pottery.

"

Fair now is the springtide, now earth lies beholding With the eyes of a lover, the face of the sun; Long lasteth the daylight, and hope is enfolding The green-growing acres with increase begun.

Now sweet, sweet it is through the land to be straying ’Mid the birds and the blossoms and the beasts of the field; Love mingles with love, and no evil is weighing On thy heart or mine, where all sorrow is healed.

From township to township, o’er down and by tillage Fair, far have we wandered and long was the day; But now cometh eve at the end of the village, Where over the grey wall the church riseth grey.

There is wind in the twilight; in the white road before us The straw from the ox-yard is blowing about; The moon’s rim is rising, a star glitters o’er us, And the vane on the spire-top is swinging in doubt.

Down there dips the highway, toward the bridge crossing over The brook that runs on to the Thames and the sea. Draw closer, my sweet, we are lover and lover; This eve art thou given to gladness and me.

Shall we be glad always? Come closer and hearken: Three fields further on, as they told me down there, When the young moon has set, if the March sky should darken We might see from the hill-top the great city’s glare.

Hark, the wind in the elm-boughs! from London it bloweth, And telleth of gold, and of hope and unrest; Of power that helps not; of wisdom that knoweth, But teacheth not aught of the worst and the best.

Of the rich men it telleth, and strange is the story How they have, and they hanker, and grip far and wide; And they live and they die, and the earth and its glory Has been but a burden they scarce might abide.

Hark! the March wind again of a people is telling; Of the life that they live there, so haggard and grim, That if we and our love amidst them had been dwelling My fondness had faltered, thy beauty grown dim.

This land we have loved in our love and our leisure For them hangs in heaven, high out of their reach; The wide hills o’er the sea-plain for them have no pleasure, The grey homes of their fathers no story to teach.

The singers have sung and the builders have builded, The painters have fashioned their tales of delight; For what and for whom hath the world’s book been gilded, When all is for these but the blackness of night?

How long, and for what is their patience abiding? How oft and how oft shall their story be told, While the hope that none seeketh in darkness is hiding, And in grief and in sorrow the world groweth old?

Come back to the inn, love, and the lights and the fire, And the fiddler’s old tune and the shuffling of feet; For there in a while shall be rest and desire, And there shall the morrow’s uprising be sweet.

Yet, love, as we wend, the wind bloweth behind us, And beareth the last tale it telleth to-night, How here in the spring-tide the message shall find us; For the hope that none seeketh is coming to light.

Like the seed of midwinter, unheeded, unperished, Like the autumn-sown wheat ’neath the snow lying green, Like the love that o’ertook us, unawares and uncherished, Like the babe ’neath thy girdle that groweth unseen;

So the hope of the people now buddeth and groweth, Rest fadeth before it, and blindness and fear; It biddeth us learn all the wisdom it knoweth; It hath found us and held us, and biddeth us hear:

For it beareth the message: “Rise up on the morrow And go on your ways toward the doubt and the strife; Join hope to our hope and blend sorrow with sorrow, And seek for men’s love in the short days of life.”

But lo, the old inn, and the lights, and the fire, And the fiddler’s old tune and the shuffling of feet; Soon for us shall be quiet and rest and desire, And to-morrow’s uprising to deeds shall be sweet."

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Daum French, Early 20th Century Bleuets Vase

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RIESSNER, STELLMACHER & KESSEL  Rare Amphora lamp of an owl perched on a Corinthian column, Turn-Teplitz, Bohemia, ca. 1900; Stamped AMPHORA 5054 52; Ceramic only: 23 1/2" x 10" x 10 1/2", height on lamp base: 24 1/2" 

(via)

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Masterpiece submitted for acceptance into the Hand-Knitters Guild of Strasbourg, 1781.

"hilfe wirt gott ferner schicken meinen feinden zum verdus" [God will continue to send help in despite of mine enemies.]

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Pulling this over from the Pre-Sale post. So, it sold: $945,000 to Philip Mould.

And being compared to that of Dido Belle and Lady Elizabeth Murray in their youth as paralleled with their portrait at Kenwood House, Hampstead:

AMERICAN SCHOOL (EARLY 19TH CENTURY) A PORTRAIT OF TWO GIRLS oil on canvas 24 x 20 in. 

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Daphne du Maurier ‘My Cousin Rachel’ 1951, Hardcover w/ Dust Jacket 1st Ed. 1st Print., 8vo Victor Gollancz, London

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Malcolm Woodward (1943-2014), British ADAM: THE FALL, 1977 Patinated bronze signed "Woodward" and numbered 2/9  along one lower side panel. 9.0 ins x 15.25 ins x 6.75 ins; 23.5 cms x 38.7 cms x 17.8 cms

(via)

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Panorama of the Himalayas Estate of C. Beswick Designed of the Nancy Museum The Nancy being a trade ship involved in the war of 1812. It was sunk near Wasaga.

(via Kings Russell)

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Samuel Clemens (Mark Twain) Autographed Letter, 1890-08-06 trimmed and laid on board w/ original copies of the letter verso (framed) 13 1/2″ x 9″

pag her, but - (I knew what she [Olivia Langdon Clemens] would say!) - She is habituated to obscurity and prefers to remain in it. Privately I believe she thinks that to be merely proprietor of a cannon cannot warrant one in letting on to be part of the battery.” Sincerely Yours, S L Clemens.

(via Bonhams)

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The Varsity (1992.07.06, Mon) University of Toronto Roberta Bondar

“I’ve said before that this country and the world look so beautiful from space. You can see it without boundaries and without labels on it. There’s nothing else out there to provide us with a whale or a spotted owl or a tree. When you look out from the shuttle at earth you feel you can reach out and touch it. But you can’t touch it from space. It’s only here that you can touch the earth and its people.

The only crystal ball I’ve ever needed in my life is the vision of Earth from space where it looks like a  crystal ball. The future is all within.”

(via)