A few examples of appraisal values for
LONDON AND SWIFT

• SWIFT, JONATHAN THE WORKS. 1801
  SWIFT, JONATHAN THE WORKS. 1801 19 volumes, 8vo, contemporary diced russia, engraved portrait, spines faded; Shakespeare, William The Pictorial edition of the Works. edited by Charles Knight. [n.d.], 7 volumes, 8vo, contemporary green morocco gilt with black, red, brown, olive and cream onlays, spines slightly faded; sold not subject to return(26)
• Swift (Jonathan)/Hawkesworth (J),
  Swift (Jonathan)/Hawkesworth (J), The Works of Jonathan Swift with Notes Historical and Critical, Volumes 1-18, Edinburgh: Mrs Mundell, 1778, 8vo, contemporary tan calf
• Swift, Jonathan. Works, 17 vols.,
  Swift, Jonathan. Works, 17 vols., 8vo., cont. calf (vol 13 in slightly different binding), Dublin, Williams, 1767
• Leatherbound books: poetry and
  Leatherbound books: poetry and satire Swift Jonathan. MISCELLANIES. Vols I-XI. London: Charles Bathurst 1751. H7''; Swift Jonathan [Lemuel Gulliver]. TRAVELS INTO SEVERAL REMOTE NATIONS OF THE WORLD. London: Charles Bathurst 1751. H7''; Swift Jonathan. A TALE OF A TUB. London: Charles Bathurst 1751. H7''; Byron George Gordon. THE WORKS OF LORD BYRON. Vols. VII-XIV. London: John Murray 1833. H6 1/2''; Pope Alexander. THE WORKS OF ALEXANDER POPE ESQ. Vols. 1-8. London: A. Millar 1757.; Longfellow Henry Wadsworth. THE POETICAL WORKS OF HENRY WADSWORTH LONGFELLOW. Vols. I-IV. Boston: Houghton Mifflin and Company 1885. H7 1/2'' Persius Flaccus Aulus. THE SATIRES OF PERSIUS. Trans. William Drummond. London: W. Bulmer 1799. H9'' (34pcs) Provenance: Estate of the late Francis D. ''Skeeter'' McNairy Savannah Georgia. Swift: edges and spines of covers worn pages tight with light foxing throughout and heavier foxing affecting front pages. Byron: bindings in good condition pages tight and only slightly toned some pencil markings. Pope: covers worn tight pages with toning foxing and staining throughout some pencil markings. Longfellow: worn covers tight pages overall with light even toning and little to no foxing vol. IV with front pages beginning to split. Persius: cover worn front pages toned pages tight overall. Back    Inquiry      Previous Item   Next Item © Charlton Hall Auctions.  Images descriptions and condition reports used on this site are original copyright material and are not to be reproduced without permission. For further information telephone 803.779.5678     © 2012 CHARLTON HALL GALLERIES INC.
• SHERIDAN, ED.; LIFE AND WORKS OF
  SHERIDAN, ED.; LIFE AND WORKS OF SWIFT, 1784 Thomas Sheridan, ed.; THE LIFE and THE WORKS OF THE REV. DR. JONATHAN SWIFT (London: W. Strahan, et al., 1784) 17 vols., 8vo, full calf, of the period.
• Taylor (James), The Pictorial History
  Taylor (James), The Pictorial History of Scotland, London: James S Virtue, 8vo, 2 volumes, half calf and faux shagreen, half titles and frontispiece to both volumes, bw plates and maps; together with James (GPR.), A History of the Life of Edward the Black Prince, London: Longman, Rees, Orme, 1836, 8vo, 2 volumes, full calf with gilt tooling, red and green title blocks, AEG, volume 1 with half title, fold out map and vignette to title page; and Thackeray, (WM), The History of Pendennis, London: B
• LEATHER-BOUND SETS OF JONATHAN
  LEATHER-BOUND SETS OF JONATHAN SWIFT'S WORKS AND BRITISH POETRY As follows: Swift's Works (London: C. Bathurst, 1754-1755), five volumes, 8vo (8-1/2 in.), in 19th century three-quarter calf over linen, spines with gilt titles and raised bands. The first book owner-inscribed "Samuel S. Graham, 1837" with all books inscribed "M. H. W. Paine / Sept, 1895." (Tightly bound; expected shelf wear; overall very good condition.); plus The Library of British Poets (New York: D. Appleton and Company, 1876), three volumes, 4to (10-1/4 in.), three-quarter leather over marbled boards and page edges. (Sound binding; some shelf wear; overall very good condition).
• TWO SYLVIA FLETCHER AT LOCK & CO.
  TWO SYLVIA FLETCHER AT LOCK & CO. HATS Lock & Co. Hatters St. James Street, London. One black woven hat and one tan woven hat.
• A set of six coloured prints of
  A set of six coloured prints of London landmarks each 20 x 13 cm together with a lithograph of a Constable painting of the River Stour.
• UNKNOWN C.1890: E.E.C. SWIFT JR.
  UNKNOWN C.1890: E.E.C. SWIFT JR. MEAT AND PROVISIONS Toned albumen print. Swift owned this successful provision company in Falmouth MA in the 2nd half of the 19th through the early 20th C. A guide to Falmouth states that Swift ''...steadily gained in business and prosperity. Three carts well known for their neatness are required to supply his patrons.'' Provenance: Property from the Collection of Gerald Kornblau. 3 3/4 x 6 1/4 in. 12 1/8 x 15 in. (frame).
• Two albums and a folder of postcards
  Two albums and a folder of postcards and photos including many early 20th. century scenes of London.
• Evans, London from the Thames,
  Evans, London from the Thames, 1845, Vizetelly., plain engraving in a roll backed on linen, 20th Century Morocco box
• Swift (Jonathan) A Tale of a Tub,
  Swift (Jonathan) A Tale of a Tub, 9th edition, 12mo., C Bathurst, 1739 and A Tale of a Tub, 4th edition, 8vo., J. Nutt, 1705, both cont. calf
• CLEMENT NYE SWIFT (1846-1918, ACUSHNET,
  CLEMENT NYE SWIFT (1846-1918, ACUSHNET, MA, HEalso painted in Brittany, Paris, NY, and New Bedford) oil painting on canvas titled "The Bad Boy". Depicts a French street scene with a young boy being admonished by a woman. Signed lower left. Shows minor inpainting under UV light. Sight size 24" x 38", overall 29 1/2" x 43 1/2". Housed in a carved and gilded frame from Crowells. Swift exhibited his work at the Paris Salon from 1872-1881 where he received critical acclaim. Provenance: Wilson Chapel, New Bedford.
• TWO FELT SYLVIA FLETCHER X LOCK
  TWO FELT SYLVIA FLETCHER X LOCK & CO. HATS Lock & Co. Hatters St. James Street, London. One brown short brimmed hat with curly decoration and one black short brimmed hat with matching foliage in original hat box.
• London and Cambridge, a collection
  London and Cambridge, a collection of volumes to include Adcock, Wonderful London, 3 vols.
• CLEMENT NYE SWIFT (1846-1918, ACUSHNET,
  CLEMENT NYE SWIFT (1846-1918, ACUSHNET, MA, HEalso painted in Brittany, Paris, NY, and New Bedford) oil painting on canvas titled "Kelp Gatherers". Signed lower left Clement Swift and Gatteau Inachere. Sight size 31" x 57 1/2", overall 36" x 62 1/4". In a carved and gilded frame. Swift exhibited his work at the Paris Salon from 1872-1881 where he received critical acclaim. Provenance: Wilson Chapel, New Bedford.
• BOOKS: SWIFT, TALE OF A TUB, 1811,
  BOOKS: SWIFT, TALE OF A TUB, 1811, FINE BINDING [Jonathan Swift]. A Tale of a Tub, written for the Universal Improvement of Mankind. Printed for Thomas Tegg, London, 1811, with 7 color plates as called for, full leather binding signed "Bound by Wallis", marbled end-papers, page edges gilt, 322 pages, 7"h x 4.5"w
• [Swift, Jonathan]. A Complete Collection
  [Swift, Jonathan]. A Complete Collection of Genteel and Ingenious Conversation, 1738 - Trusler, Rev. John. A System of Etiquette, Second Edition, Bath [1804]. 8vo., cont. calf. With 3 others (5)/Provenance: Spetchley Park
• Panorama of London and the Thames.,
  Panorama of London and the Thames., circa 1846, Illustrated London News, 4to, coloured wood engraved panorama, printed key on separate tipped in leaf, original green cloth board, with decorative cloth design on upper cover with gilt arms of the City of London/see illustration
• Leonard Russell Squirrell (1893-1979)/Westminster
  Leonard Russell Squirrell (1893-1979)/Westminster from the South Bank/with a tug, barge and other vessels on the Thames, an extensive cityscape/signed and dated 1957/watercolour, 62cm x 197cm/Provenance: Purchased at auction in the late 1960s
• Swift (J) Travels into Several
  Swift (J) Travels into Several Remote Nations of the World, vol. 1 first edition, vol. 2 second edition, 1726; Political Tracts, 2 vols, 1738, 8vo, cont calf
• After Francis Wheatley (British,
  After Francis Wheatley (British, 1747-1801) "Cries of London" two color engravings after prints by Giovanni Vendramini plate 9-"Scarlet Strawberrys" and plate 12-"Hot Spice Gingerbread" 13 3/4" x 10 3/4"
• TWO SYLVIA FLETCHER X LOCK & CO.
  TWO SYLVIA FLETCHER X LOCK & CO. FELT HATS Lock & Co. Hatters St. James Street, London. One black felt sun hat, one brown felt sun hat in original hat box.
• Swift (Jonathan) Gulliver's Travels,
  Swift (Jonathan) Gulliver's Travels, 1909, 4to, large, paper copy, 353 of 750 signed by Arthur Rackham, colour plates, original cream decorative cream cloth gilt, silk ties/see illustration
• H. SWIFT MINIATURES OF MEN OF THE
  H. SWIFT MINIATURES OF MEN OF THE JAY FAMILY, PR. Pair of American miniature ink and watercolor on paper portraits depicting young men in profile "en Face" each in ebonized frames with acorn-form hangers, the verso of one inscribed "Charles Jay / H. Swift" and the other "Thomas [illeg.] Jay / H Swift" Image: 3" H x 2.25" W frame: 5.5" H x 4.5" W. Provenance: Property from a 30 Waterside Plaza estate.
• [Fine Press] Four items notably:
  [Fine Press] Four items notably: J. Swift; Gulliver's Travels (to Lilliput and Brobdingnag) (NY: Limited Editions Club 1950) #484/1500 2 vols. folio and 24mo. in a single slipcase; and J. Williams The New Architectural Monuments of Baltimore City illus. by John Sparks (Balto.: Md. Institute 1969) #6/50 loose folio in cloth folder; Together with a Boehm collector's plate in original box and 2 New York Times in plastic covers Estimate $ 80-150
• Songs of the Chase, published for
  Songs of the Chase, published for Thomas Simpson, Oxford Street, 1811; Egerton Warburton (RE) Hunting Songs, London 1873; Stephen (Sir G) The Adventures of a Gentleman in Search of a Horse, 3rd and 6th edition and another (5)
• 20TH C. SCHOOL: "THE CITY OF LONDON
  20TH C. SCHOOL: "THE CITY OF LONDON IN 1964" Collaged newspaper and architectural photographs on a hand-colored lithographic print 15 x 23 in. (image) signed J.A. Anthony.
• One Pair of Solid Silver Salts
  One Pair of Solid Silver Salts and Spoons (Birmingham) and a Solid Silver Hip Flask (London Victorian) (3)
• WRIGHTSMAN BOOKS ON LONDON TOPICS,
  WRIGHTSMAN BOOKS ON LONDON TOPICS, 16 Group of 16 books on London-related topics from the collection of the late Jayne Wrightsman (American, 1919-2019) and with her Ex Libris, including: "THree Estraordinary Ambassadors" Acton, H (Thames & Hudson: London, 1983) and "Walks in London" Hare, A.J.C. (Two Vols. Daldy Isbister & Co.: London, 1878) Provenance: From the Collection of Mrs. Charles Wrightsman, New York; A 485 Park Avenue Estate
• TWO SETS OF LEATHERBOUND BOOKS
  TWO SETS OF LEATHERBOUND BOOKS To include: five volumes from The Works of Jonathan Swift, D. D. Walter Scott (Edinburgh: Archibald Constable, 1814), 8vo (8-1/2 x 5-1/2 in.), full calf with gilt to spine, to include Vols. I, VIII, IX, XIV, XVII; plus, The History of the Decline and Fall of the Roman Empire (Philadelphia: John D. Morris & Company, n.d., circa 1890s), "Edition DeLuxe" #322 of 1,000, six volumes complete, 8vo (8-3/4 x 6 in.), three-quarter leather over marbled boards.
• ETCHING - 'Tower Bridge London'
  ETCHING - 'Tower Bridge London' edition of ten signed lr 'Hayley Lever' (New York 1876-1956) silver flyspeck molded frame matted and glazed SS: 6 3/4'' x 9 3/4'' OS: 12'' x 15" lightly foxed.
• A copy of ''The traveller'' by
  A copy of ''The traveller'' by Oliver Goldsmith with illustrations 1851 together with over twenty prints some coloured mainly of London.
• LONDON. MOONLIGHT OVER THE LOWER
  LONDON. MOONLIGHT OVER THE LOWER POOL IN 1897 BY JOHN STOBART (ENGLISH/AMERICAN 1929). Limited edition print signed and number (53/800) lower right. Night scene on the river overlooking the London bridge. In a gilt frame 36 1/2''h. 45''w. John Stobart and Maritime Heritage Prints announced as of January 1 2011 they will no longer sell limited edition prints. This piece has not been removed from frame but appears mint. No COA but we guarantee that it's authentic.
• ? ATTRIBUTED TO THOMAS POOLEY (IRISH
  ? ATTRIBUTED TO THOMAS POOLEY (IRISH 1646-1723) HALF LENGTH PORTRAIT OF JONATHAN SWIFT AS A STUDENT IN DUBLIN COLLEGE With later inscription, feigned oval, oil on canvas71cm x 58cm (28in x 22.75in)Provenance (supporting documents sold with the lot):1) Thomas Percy (1729-1811), Bishop of Dromore; acquired by him in 1801 from Anthony Trail or Traill (1755-1831) of Mount Druid, Ballycastle, later Archdeacon of Connor, who in two letters to Percy (27 April and 5 May 1801) describes his own acquisition of the work c.1790 from 'Gonne, a carver and gilder in Abbey Street', evidently the Henry Gonne (fl.1765-99) who is recorded as a carver and looking-glass seller at 26 Abbey Street, Dublin (Glin & Peill, Irish Furniture, 2007, p. 293):‘An old family mansion house in the Co of Louth was about to be pull’d down, previous to the erection of a new one, and all the pictures in it were sent up to Dublin to be sold, as the proprietor did not chuse to be at the expence of new frames for them, and thought they would be unsuitable ornaments for a new house in their old black ones. Not chusing to sell them separately, I was oblig’d to purchase the whole in order to get three or four of them that I lik’d. The account given me of the Dean’s picture was as follows – He had been while at college an intimate companion of the young gentlemen of the above family, and frequently spent his vacations with them in the country. During one of these visits a painter was employed to paint some portraits in the family, and the Dean’s was painted along the rest, and had remain’d in the house ever since. As no particular value was set upon the picture, and as I had express’d no particular desire of purchasing it, it is improbable that such a story should have been told me, if it had not been true. I am sorry however that I have forgot the name of the family, but it has escap’d my memory.'Thence by descent to:2) Mr Edward Richard Meade (1805-1890) of 5 Gloucester Place, Portman Square, London, the picture with him by 1867, when exhibited at South Kensington (see below). Meade was the grandson of Thomas Percy by the marriage of Percy’s daughter Elizabeth to Pierce Meade (1776-?), Archdeacon of Dromore (John Sharpe, Peerage of the British Empire, [1833], volume I, f. 2A6 v.).3) Miss Constance Meade (1852-1941), of 15 Eaton Terrace, Knightsbridge, London, daughter of Edward Richard Meade.4) Mr Kenneth George Francis Balfour (1909-1998), of Quoitings, Marlow, Buckinghamshire, nephew of Constance Meade.5) Mrs Virginia Cardwell Moore, of Coupar Angus, Perthshire.Exhibited:1) South Kensington Museum, Second Special Exhibition of National Portraits commencing with the Reign of William and Mary and ending the Year 1800, 1867. (Catalogue no. 139, described as 'Jonathan Swift, D.D., Dean of St Patrick's ... Bust. as a young man in student's black gown, when a student at Trin. Coll. Dublin', owner recorded as Mr. E. Meade, a copy of the catalogue with presentation plate to Meade sold with the lot, q. v.).2) Exhibition Palace, Dublin, Exhibition of Arts, Industries and Manufactures, 1872.3) National Library of Ireland, Fair Liberty! was all his cry: Jonathan Swift and his Contemporaries, 1999.Published:A Series of Historical Portraits Selected from the National Portrait Exhibitions at South Kensington: Photographed from the Original Paintings (London, [1867]) (plate 139).The Prose Works of Jonathan Swift, D. D., edited by Temple Scott (London, 1911) (frontispiece).Bruce Arnold, Swift: An Illustrated Life (Dublin, 1999) (cover illustration).Literature:David Woolley, ‘Miscellanea in Two Parts: I. An Autograph, II. A Portrait’, Swift Studies, 8 (1993), 94-99.Jane Fenlon, ‘More about the Portrait of Jonathan Swift when a Student at Trinity College, Dublin’, Swift Studies, 15 (2000), pp. 33-38.David Woolley, ‘A Rejoinder from the Author of The Doubtful Portrait, etc.’, Swift Studies, 15 (2000), pp. 39-41.Joseph McMinn, Jonathan Swift and the Arts (Newark, DL: University of Delaware Press, 2010), p. 168 n. 7.Supporting documents:Full information available on request.Note: The earliest supposed likeness of one of the greatest writers in English, and the embodiment of the elusiveness or otherwise of the historical Swift, this remarkable portrait comes to market by direct descent from Thomas Percy, Bishop of Dromore, who acquired it in 1801 as ‘a small portrait of Dean Swift’, and is now offered for sale for the first time in 200 years, with documented provenance to the late 18th century.First exhibited at South Kensington in 1867, for the next century it drifted in and out of public view. In 1898 Leslie Stephen, writing in the Dictionary of National Biography, declared that ‘the present whereabouts of this portrait is unknown’. It reappeared c.1967 in the collection of a descendant of Percy’s and came to the attention of Swift scholars, at which point there first emerged an attribution to Thomas Pooley which is now current: ‘A portrait thought to be of the young Jonathan Swift, c.1682, is clear and direct in Pooley's early manner. The attribution is probable because the Pooley family married into the Swift family’ (Dictionary of Irish Biography).The attribution to Pooley, and the longstanding identification of Swift as the subject, were on the occasion of the portrait’s exhibition at the National Library of Ireland in 1999 advanced by Bruce Arnold in support of the theory that Swift was in fact the illegitimate son of his benefactor Sir John Temple (1600-1677), master of the rolls in Ireland, and hence a more likely candidate for such a sumptuous likeness. Originally developed by Denis Johnston (In Search of Swift, 1959), this theory has been used to explain otherwise intractable ambiguities in Swift’s relationships with the two most important women in his life, firstly ‘Stella’ (Esther Johnson), who on this view is supposed to have been the daughter of William Temple and therefore Swift’s niece, and ‘Vanessa’ (Hester Vanhomrigh).Writing in 1993, David Woolley (q.v.), editor of The Correspondence of Jonathan Swift (5 vols, 1999-2014), presented several arguments against Swift’s being the subject of the portrait, chiefly that ‘The dress style is of c.1710. By this time, however, Swift was into his forties’, and that ‘The portrait style is of the school of Kneller. When Swift graduated, in the reign of James II, the dominant portrait style was still of the school of Sir Peter Lely’.In 2000, art historian Jane Fenlon noted that Woolley had only seen the painting in reproduction, that his analysis contained no reference to the attribution to Thomas Pooley, who had various connections to Swift, and that the sitter’s costume is similar to known examples of academic dress from the late 17th century:‘The portrait in question has a long-standing attribution to the painter Thomas Pooley. The attribution is sound in that the style and manner of painting compare well with other portraits by the artist. The age of the sitter, between fifteen and nineteen years, is appropriate for the years 1682-86, the time spent by Jonathan Swift at Trinity College, Dublin. The costume worn by the sitter would also seem to be appropriate to the period in question. Social and familial links have been established between the painter and the sitter. In art-historical terms, after such close examination of the evidence, a portrait with a long-standing provenance and attribution such as this one has a sound basis for acceptance’.In a brief response to Fenlon’s article (published in the same volume of Swift Studies) Woolley reiterated a few of his original arguments while conceding the strength of ‘the Pooley connection’.‘His life and works continue to vex as well as instruct and amuse his readers … Rumours and legends about Swift's parentage, alleged marriage, misanthropy, and madness started early and developed freely, not least during the Victorian period … His work has provoked strong responses from each generation of readers, and he is one of those writers whose effect on our minds and imagination will not go away. In the words of a fellow Irishman, who also believed that Swift was the founding figure in Irish political nationalism, “Swift haunts me; he is always just around the next corner” (W. B. Yeats)’ (Clive Probyn in ODNB)