Sebastián López de Arteaga (Seville, 1610 - Mexico City, 1652)"Our Lady of Villaviciosa".Oil on canvas.104,5 x 83 cm.The painting “Our Lady of Villaviciosa” represents the Novo-Hispanic Baroque work attributed to Sebastián López de Arteaga, a painter originally from Seville who worked in Mexico in the 17th century. Arteaga, trained in the Spanish pictorial tradition, had contact with the great Baroque tenebrists such as José de Ribera and Caravaggio, which strongly marked his style and allowed him to bring pictorial sensibility that emphasized realism, theatricality and visual impact to Latin America. This can be appreciated in Our Lady of Villaviciosa, where the chiaroscuro and expressiveness of the violinist evoke the aesthetics of the great Spanish painters of the 17th century.Sebastián López de Arteaga stands out as a key painter in the transition from Mannerist to Baroque painting within New Spain. The comparison with Arteaga's “Doubting Thomas”, preserved in the Museo Nacional de Arte of Mexico, is pertinent, as both paintings share directed light, with faces emerging from the penumbra and a composition centered on the gestures of the figures. Just as in the painting of St. Thomas, where disbelief is manifested in the intense observation of Christ's wound, in Our Lady of Villaviciosa, the violinist shows an expression of admiration directed at the Virgin, reinforcing the mystical dimension of the scene.Since the sixteenth century, the worship of the Virgin Mary was fundamental in the viceroyalty of New Spain for evangelization and the construction of a Catholic identity. Images of the Virgin Mary, especially those associated with specific advocations such as Guadalupe, Remedios or Villaviciosa, were used as symbols of protection and faith for the indigenous and mestizo population, thus facilitating the integration of local beliefs with European Christianity. The invocation of the Virgin of Villaviciosa has its origins in the Iberian Peninsula, where she is venerated both in Portugal and Spain. Worship of this advocation spread to Latin America through the colonizers and missionaries, who brought with them images and miraculous stories of the Virgin of Villaviciosa. However, the adaptation of this devotion to a Novo-Hispanic context is evident in this painting, where clear signs of syncretism and cultural reinterpretation are observed, incorporating elements of indigenous and mestizo iconography.This is reflected, for example on the mestizo features of the Virgin and Child, with clearly darker skin. The chromatic palette, which presents more vibrant and warmer colors than those found in European paintings, reflecting the influence of the local environment and the access to indigenous pigments.Most notably, there are decorative elements that integrate indigenous symbols in an attempt to make the image more accessible to local worshippers.For example, the floral ornaments and jewels that decorate the Virgin's clothing present a mixture of European motifs with indigenous stylistic elements. The flowers used have a design closer to Mexican flowers, such as cempasúchil (Mexican marigold) and other species native to Mexico, suggesting a local reinterpretation. These flowers have a cultural and spiritual significance in indigenous traditions, especially in festivities such as the Day of the Dead.Other curious decorative elements are the two ornaments in the shape of eagles that appear on the upper part of the Virgin's mantle, which seem to have a red plume, a detail that could refer to Mexican traditions, where the eagle was a symbol of power and a sacred figure for the Mexicans, representing the god Huitzilopochtli.Finally, one of the most remarkable details in the painting is the hanging jewel on the lower part of the Virgin's dress, which shows an unusual design related to the tradition of the "flying stick", an indigenous ceremony practiced in the Totonacapan region of Mexico. The design of this jewel is reminiscent of the structure of the flying stick ritual, where participants spin around a pole in a ceremonial dance.In this painting, beyond the technical treatment, the iconography reinforces its devotional function. The presence of the violinist and the bull in the foreground introduces an everyday scene that enriches the pictorial narrative. These elements refer to a pastoral scene, in which the music and the presence of the animals suggest a miraculous manifestation of the Virgin in a humble context.On the other hand, it is worth mentioning the parallelism between this painting and the Virgin of Loreto by Juan Correa, which allows us to contextualize the evolution of this type of iconography in Novo-Hispanic art. Although Correa adopts a more decorative style, the similarity in the chromatic choice and in the structure of the mantle suggests a continuity in the way of portraying the Marian invocations in Mexico.In conclusion, the painting can be dated to the second half of the 17th century, within the period in which Arteaga consolidated his work in Mexico. Its comparison with Doubting Tomas and with Correa's Virgin of Loreto reinforces its importance as one of the paintings that most represents the adaptation of Spanish Baroque in New Spain. Provenance:-House of Albornoz, Extremadura, Spain, and also established in New Spain, Mexico.-By family descent over centuries to Mrs. Blanca Carrillo de Albornoz Muñoz de San Pedro. Spain.-Private collection Spain acquired from the above family through the art trade in 2019. Reference bibliography:- Arroyo Lemus, E. M. (2004). "Pintura novohispana: Conservación y restauración en el INAH: 1961-2004". Instituto Nacional de Antropología e Historia (INAH).- Brading, D., Buxó, J. P., & Lafaye, J. (2004). "El Pegaso o el mundo barroco novohispano en el siglo XVII". Ediciones Turner.- Burke, M. (1992). "Pintura y escultura en Nueva España: El barroco (Arte Novohispano)". Fondo de Cultura Económica.- Rodríguez Gutiérrez de Ceballos, A. (1990). "Sebastián López de Arteaga (1610-1656): Un pintor sevillano en Nueva España". Fundación Universitaria Española.- Rodríguez Prampolini, I. (1994). “Sebastián López de Arteaga y la introducción del tenebrismo en Nueva España”. Anales del Instituto de Investigaciones Estéticas, UNAM, 59(17-34).- Sepúlveda, C. (2010). "El arte novohispano. Nueva Escuela Mexicana". Secretaría de Educación Pública.
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Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"Saint Raymond of Penyafort"Oil on copper.21 x 16,5 cm.Attributed to the renowned painter Bernardo Rodríguez, an emblematic figure of the 18th-century Quito School, this work reflects his technical and artistic mastery and is executed in oil on copper. The precision of details and delicacy of brushwork suggest the piece probably dates to the mid-18th century.The artist’s draftsmanship is exceptional, evident in the composition’s impeccable organization and meticulous treatment of details.We compare this copper painting to other depictions of saints like Jerome and Augustine, also attributed to Rodríguez, which, alongside works of Saints Ambrose and Gregory the Great, form the series of the Four Fathers of the Church at the Museo de San Agustín in Quito (Ecuador). Such comparisons highlight Rodríguez’s skill in gilding and his ability to infuse artistic grandeur into even small-format compositions, as seen here. The portrayal of Saint Raymond of Peñafort adds unique dynamism through its maritime narrative and subtle landscape details.Similarly, the painting “Saint Anthony of Padua and the Miracle of the Resurrection” at Quito’s Museo Convento de San Francisco enriches this comparative analysis due to stylistic and compositional parallels with the depiction of Saint Raymond we have here. Though Saint Anthony is painted on canvas and lacks gilding, both works share remarkable precision in rendering the saint’s figure and a focus on spiritual depth. The treatment of facial features, posture, and drapery reveals evident similarities, pointing to stylistic coherence within the Quito artistic context.This context was deeply shaped by the expansion of Christian faith in Latin America and the use of art as an evangelizing tool. Such narratives were especially relevant in viceregal territories, where missionaries faced similar challenges. The Quito School, in this regard, adeptly adapted European influences into a visual language that responded to local spiritual and cultural needs.As noted by the Cervantes Virtual Center, “Bernardo Rodríguez, a muralist and painter, was a highly distinguished master among religious motif practitioners in viceregal Quito.” Supported by the Church throughout his career, he “enjoyed privileged opportunities to create canvases now admired in Quito Cathedral, the Museo de Arte Colonial, and the Casa de la Cultura Ecuatoriana.” His impeccable craftsmanship was inherited by disciples like Quito’s Antonio Salas (1795–1860).Saint Raymond, clad in a Dominican habit brought to life through dynamic fabric folds, dominates the center of the composition. The marine backdrop, rendered in subtle blue and white brushstrokes, evokes serenity and depth. Distant ships reinforce the narrative of the miracle, while the gilded halo and reflections on the saint’s cloak showcase the painter’s flawless mastery of materials, achieving a luminosity that elevates the painting’s spirituality—a radiant “small window to heaven” brimming with vibrant color and light.The artwork depicts Saint Raymond of Penyafort (Vilafranca del Penedès, 1176–Barcelona, 1275), a 12th-century Dominican friar and canon lawyer, experiencing the miraculous event that occured in his life. King James I, who sought his counsel, once took him on a journey to Majorca, secretly accompanied by a woman with whom the king had an illicit relationship. Upon learning this, Raymond urged the king to dismiss her, threatening to leave otherwise. The king failed to comply, and responded by ordering that no ship carry Raymond home. Undeterred, the saint spread his cloak upon the water, transforming it into an improvised vessel to cross the Mediterranean to Barcelona—a testament to how true faith can calm even the stormiest waters.A Doctor of Canon and Civil Law, Raymond was acclaimed and chosen to teach at the University of Bologna, where his students were primarily nobles and scholars. After experiencing a vision of the Virgin Mary, he co-founded the Mercedarian Order with Saint Peter Nolasco to redeem captives from Muslim rule. Summoned to Rome by Pope Gregory IX, he served as confessor, chaplain, and penitentiary. He played a role in establishing the Inquisition in Aragon and compiled five volumes that became the most organized collection of church law until the 1917 Code of Canon Law. After a decade of writing, he was elected head of the Dominican Order, succeeding Saint Dominic, and retired at nearly 100 years old. He is the patron saint of canon lawyers, jurists, and legal institutions. He died on the 6th January 1275 and was canonized in 1601 by Pope Clement VIII. Iconographically, the elements in the painting hold profound symbolism. The outstretched black cloak alludes to the miracle, while the maritime landscape, with its expansive horizon and traversing ships, adds narrative depth, situating the saint within a context of triumph and hope.Though rare, other depictions of Saint Raymond in Latin America include the portrait at Tlacochahuaya’s San Jerónimo Church in Mexico and the Convent of Santa Rosa de Lima in Santiago de Chile. In essence, this small copper painting brims with life, movement, and perspective, its lapis lazuli blues and mastery of gilding and pointillism perfecting the saint’s figure. An 18th-century scalloped and gilded frame rounds off the composition, Bibliographic References:- Centro Virtual Cervantes. (s.f.). “Bernardo Rodríguez”. https://cvc.cervantes.es/artes/ciudades_patrimonio/quito/personalidades/brodriguez.htm- Herrera, Lizardo. (2010). “La canonización de Raimundo de Peñafort en Quito. Un ritual barroco entre la exhibición y el ocultamiento (1603)”. Procesos, 32, II semestre 2010, pp. 5-32. - Stratton-Pruitt, Suzanne. (2011). “El arte de la pintura en Quito colonial”. Saint Joseph’s University Press, Filadelfia.
Jose Avitavilli (Peru, late 16th century - early 17th century)“Salus Populi Romani”, also known as ‘Our Lady of the Snows’.Tempera on linen canvas.127 x 95 cm.This *Our Lady of the Snows* is a significant testament to the development of religious art in the Viceroyalty of Peru during the late 16th and early 17th centuries. Its Marian iconography, technique, and composition place it in a transitional phase between the Mannerism introduced by the Society of Jesus and the consolidation of Andean Baroque, influenced by European artistic traditions and local aesthetic particularities.A stylistic and technical analysis of the painting allows us to associate it with the production of the circle of Bernardo Bitti (1548–1610), an Italian Mannerist master whose work had a decisive impact on the development of Peruvian viceregal painting. More specifically, we attribute this piece to José Avitavilli, his disciple and one of the principal exponents of Cuzco Mannerism, based on stylistic and documentary comparisons.José Avitavilli, one of Bernardo Bitti’s closest disciples in the Viceroyalty of Peru, is mentioned in colonial documents as an active collaborator in the restoration and production of Mannerist works in Cuzco and Upper Peru. His work has been documented in the decoration of Jesuit churches and convents, and his style reflects clear influences from Bitti but with a distinctive refinement in the execution of faces and the treatment of color. Historical sources indicate that Avitavilli worked on Marian themes, particularly in Cuzco and Potosí, where he is known to have painted pictures of the Virgin Mary that combine Mannerist elements with a polished technique.The painting we present coincides with his other work in several key aspects, such as the delicate modeling of faces with Italian influences, the use of tempera instead of oil—a distinctive feature in some of his works—and the balance between gilded ornaments and a sober composition, typical of late Mannerism.One of the most significant aspects of this painting is its close iconographic relationship with the "Our Lady of Antigua", preserved in Lima Cathedral and considered to be one of the first Marian images introduced to Latin America. Both paintings share fundamental characteristics, such as the frontal arrangement of the Madonna and Child, the use of the rose as a symbol of purity, the treatment of the face with delicate oval features, and the presence of an ornamental background with geometric and gilded elements.However, "Our Lady of the Snows" introduces Mannerist variations characteristic of the late 16th century, such as the stylization of the figures and a greater softness in contrasts between light and dark. The influence of Bernardo Bitti is evident in the delicate modeling of the faces, with a subtle use of light and shadow to create volume—a technique he learned in Rome before moving to the Americas.The fact that the "Virgin of the Antigua" was one of the first Marian images in the viceroyalty reinforces the idea that *Our Lady of the Snows* represents a more advanced reinterpretation of this model, with technical refinement and an aesthetic more influenced by Mannerism. Perhaps the version by Bitti at the Museo Convento de los Descalzos in Peru is the earliest example of this evolution.All this evidence allows us to propose José Avitavilli as the artist who painted this artwork, consolidating him as a key figure in the transition between Italian Mannerism and early Andean Baroque.One of the most unusual aspects of this painting is the use of tempera on linen canvas, rather than the traditional oil on canvas. The tempera technique, more common in mural painting and European altarpieces, involves mixing pigments with binders such as egg or animal glue, allowing for a more delicate application and a matte finish, less glossy than oil. This method was widely used in European Renaissance art, but its application on canvas is much less frequent.Linen as a support is also a particular choice, as most viceregal production was painted on cotton fabric or wood. This material provides a finer texture and allows for more precise details in drawing, which is reflected in the exquisite execution of the faces of the Madonna and Child. The state of preservation suggests that the tempera technique has contributed to the stability of the painting, avoiding the typical cracking seen in older oil paintings.An elegant and stylized version of the famous *Salus Populi Romani* (Protector of the Roman People), better known as Our Lady of the Snows, a name given in the 19th century to the Byzantine icon of the Virgin with the Child in her arms, traditionally attributed to early Christians.This iconographic composition designates this type of painting as "Theotokos", meaning etymologically “Mother of God,” or more literally, “the one who gave birth to God.” The Virgin Mary is depicted with a light blue mantle edged in gold. In her right hand, she holds a circular flower, the mystical rose with which she seals her covenant with the Roman people. Though she does not wear a crown, the halo of sanctity speaks of her distinction and benevolence, a holy woman full of light, shown as the "Regina Caeli". With her left hand, she tenderly embraces her son, offering him to the world, while the Christ Child rests, appearing as the Pantocrator. With his right arm slightly raised, the Child makes a gesture of blessing and holds in his left hand the orb or globe of the world, which he blesses and supports, unlike the original icon where he carries the Book of Life, the Word.Both Mother and Child appear against a curtained background that emphasizes the importance of the image. They look directly at the viewer, making us participants in their presence, gaze, and transformation. The red curtain in the background reinforces the sacredness of the moment and creates a theatrical frame that recalls the liturgical theater of the Counter-Reformation. This type of composition follows European models of Italian and Flemish influence, adapted to the viceregal context. The use of gilding in the embroidery and trim of the Virgin’s mantle, though restrained compared to 18th-century paintings, anticipates the taste for brilliance and ornamentation that would characterize later Cuzco painting.Bibliographic References:-Mesa, José de, y Gisbert, Teresa. Holguín y la pintura altoperuana del Virreinato. La Paz: Librería Editorial Juventud, 1977. -Gisbert, Teresa, y Mesa, José de. La tradición bíblica en el arte virreinal. La Paz: Librería Editorial Juventud, 1982. -Querejazu, Pedro. “La ‘Madona del pajarito’ de Bernardo Bitti: tratamiento de conservación y restauración”. Conserva, n.º 5, 2001, pp. 85-94. -Coello de la Rosa, Alexandre, y Abejez, Luis J. “Bernardo Bitti y Diego Martínez: dos protagonistas de la pastoral de la imagen en el Virreinato del Perú”. Archivum Historicum Societatis Iesu, vol. 92, n.º 183, 2023, pp. 5-30. - Stratton-Pruitt, Suzanne L. *The Virgin, Saints, and Angels: South American Paintings 1600-1825 from the Thoma Collection*. New Haven: Yale University Press, 2006.- Museo Convento de los Descalzos, Lima, Perú.
Jose de Alcíbar (Mexico City, 1730 - 1803)"Allegory of Africa"Oil on canvas.132 x 96 cm.José de Alcíbar was one of the main exponents of New Spain painting in the second half of the 18th century. Born circa 1730, Alcíbar was remarkable in his ability to portray the ethnic and cultural diversity of New Spain and to accurately depict the physical details and symbolic elements in his characters, something that can be seen in his numerous casta paintings. These artworks, executed in a style that combines European influences with a local sensibility, are a key reference to understanding why we are attributing the painting we are analyzing to him.This is an elegant and striking painting showing one of the personifications of one of the four continents then known (Europe, Asia, Africa and America).Africa is represented here by a standing black character, who turns his head slightly to the left, as if paying attention to a voice calling him. With frizzy, curly hair, richly dressed in the manner of eighteenth-century Europe, showing wealth and abundance, with clothing which is richly brocaded and trimmed on the sleeves and large red cloak. The character also wears a necklace of a string of pearls and other jewelry, in the form of earrings. They hold a sword in their right hand and a bow and arrows with their left.A Novo-Hispanic painting that helps us to gain a little more understanding of the sense that geographical allegories had in Renaissance and Baroque art.It was usually a way of demonstrating the confines of a given empire, and true to the mentality of the time, depicting a monarchy surrounded by continents was a clear expression of power, expressing that their power extended throughout the world.One of Alcíbar's best known paintings is “From Indian and Mestiza, Coyote” and “From Spaniard and Morisca, Albino”, which are in the Philadelphia Museum of Art. These paintings are part of the casta tradition, a pictorial genre that developed in New Spain and was intended to visually classify the different racial mixtures that arose from contact between Europeans, Africans and Indians. These works stand out for their detailed observation of the costumes, textures and gestures of the characters, something that is also evident in the painting of the “Allegory of Africa” that we have here.As in his casta paintings, Alcíbar uses chiaroscuro in “Allegory of Africa” to model the figure using strong contrast between light and shadows, giving it three-dimensional volume and reinforcing its presence in the composition.The depiction of clothing, with its folds, textures and finely worked details, is another characteristic shared with Alcíbar's casta paintings. The precision in the texture of the fabrics, the brilliance of the jewels and the meticulous depiction of the jewelry suggest the expert hand of a painter accustomed to capturing the material and symbolic wealth of his characters.The painting is significant not only for its artistic quality, but also for its ability to reflect colonial-era concerns and ideologies regarding ethnic diversity and the depiction of figures descended from Africa.This connection to Alcíbar's casta paintings, especially those in the Philadelphia Museum of Art, reinforces the attribution of the work and underscores the importance of José de Alcíbar as a key painter in the portrayal of racial diversity in New Spain. As the Museo del Prado states in their biographical factsheet, Alcíbar was ‘One of the most active and representative artists of the painting scene in Mexico City during the second half of the 18th century. He received numerous commissions, especially for religious paintings for various churches and portraits of leading figures in Mexican society, with a personal style that was not unrelated to the artistic processes taking place in the metropolis. Mexico City in the 18th century was a time of special cultural importance, also in artistic terms, with the founding of the Royal Academy of Fine Arts of San Carlos in 1784, of which Alcíbar was one of the founding members and in which he took an active part until his death. Despite the relative success of his teachings, the Academy saw the arrival in Mexico of painters trained and active in Madrid, such as Ginés Andrés de Aguirre, Cosme de Acuña, José Arias and Antonio González Velázquez, who undoubtedly enriched the horizons of the Latin American painters. The two portraits in the Museo del Prado are characteristic of one facet of Alcíbar's production, portraiture, and show the elegance and flamboyance of his brushwork.Reference bibliography:- Magali Carrera, “Imagining Identity in New Spain: Race, Lineage, and the Colonial Body in Portraiture and Casta Paintings” (2003).- Ilona Katzew, “Casta Painting: Images of Race in Eighteenth-Century México” (2004).- Museo de Arte de Filadelfia, Colección de Pinturas de Castas.- Museo del Prado. (n.d.). "Alcíbar, José de". https://www.museodelprado.es/aprende/enciclopedia/voz/alcibar-jose-de/858ad8f0-de5b-4a63-921a-49d2d989e660
Attributed to Diego de la Puente (Mechelen, Belgium, 1586 - Lima, Peru, 1663)‘Infant Jesus of Passion’ Oil on canvas.41,5 x 32,5 cm.Diego de la Puente, born in Mechelen (Belgium) in 1586, is a European painter who developed his career in the Viceroyalty of Peru from 1620, after training in the workshop of Flemish masters in Europe, such as Joos van Cleve and Gossart. His arrival in Peru coincided with the expansion of European artistic influence in South America, where the Jesuits and other religious orders were looking for artists to decorate their churches and missions. The artist is a sublime example of the use of great mastery of Flemish art to introduce the evangelizing message to the Andean world.Diego de la Puente worked intensely for the Society of Jesus, producing a series of religious artworks that were distributed throughout various regions of the viceroyalty, including Lima, La Paz and Santiago de Chile. Likewise, explains historian and curator Teresa Villegas de Aneiva, he was “one of the key figures in the training of the local schools in Trujillo, Lima. Ayacucho, Cuzco, La Paz, Potosí and Chuquisaca, cities to which he was assigned by his superiors of the Jesuit Order during the period 1620-1662, the year he died in Lima.”This painting has stylistic and technical characteristics that we find in signed and documented works by Diego de la Puente.The most evident is the treatment of the faces. The Child is depicted with a delicate and serene face, with an elongated and soft structure, typical of the Flemish style that De la Puente brought to Latin America. It is similar to the face of the “Archangel St. Michael”, currently in the National Museum of Art of Bolivia. These paintings, in fact, share “a very personal style, characterized by a rapid brushstroke, rich palette and a choice of shades ranging from cold green to warm brown”, this is how Villegas de Aneiva describes the Archangel and we would use the same words to describe this Child.De la Puente uses light to highlight the central figure of the composition, creating a contrast with the darker background, which emphasizes the spiritual aspect of the scene. This technique is common in the Baroque, and De la Puente handles it with skill, adapting it to Christian iconography in the Peruvian context.As far as iconography is concerned, in this canvas we see the Christ Child carrying the instruments of the Passion, based on an engraving by the Flemish artist Hyeronimus Wierix (1563 - pre 1619). The Christ Child travels along a path full of thorns, holding the Cross and carrying a small basket with the instruments of the Passion. These engravings or prints became famous and possibly one of them fell into the artist's hands, inspiring this small devotional painting. It reflects an apocryphal, unreal and timeless situation of the iconography of the Passion Child, immersed in the crude and terrible reality of a joyless childhood, but theologically founded according to Thomas Aquinas, “the first thought be for the Cross”: a “Pensative Child” whose dream is the Cross. That Child becomes tangibly humanized “descending and walking” at our side, he offers himself to the viewer carrying his inexorable and distant end, he offers himself to a society that, since the Middle Ages and the Baroque, lived preparing for death. The art of that time engendered an attraction for the macabre and morbid that resulted in small and genuine artistic creations, like this one, the image of the Child, presenting his fatal destiny, and that is a fair comparison with the feeling of impotence and frustration of the baroque people before the uncertainty of every day. A small painting that devoutly encloses the thought of the 17th and 18th centuries of anguish, disillusionment, fear and the need for hope that flooded the mood and consciousness of a society with a fetishistic religiosity close to magic. The cross he carries on his right shoulder reads in Latin and gold: “OPUS EIVS, CORĀ ILLO” (“His work, it is / resides in that heart”).Reference bibliography:- Gisbert, Teresa. (1980). “Iconografía y mitos indígenas en el arte”. Editorial Gisbert y Cía.- Mesa, José de y Gisbert, Teresa. (1982). “Historia de la Pintura Cuzqueña”. Fundación Augusto N. Wiese.- Schmidt, Klaus. “Pintura Colonial en Bolivia”. (1978). Editorial Amigos del Libro.- Tauro del Pino, Alberto. (2001). “Enciclopedia Ilustrada del Perú”. PEISA.- Villegas de Aneiva, Teresa. (s.f.). “El retorno de los ángeles”. https://www.bolivian.com/angeles/asmiguel.html
A Belgium Martin action .22 rifle. No makers name, possibly 'Francotte', open sights, s/n. 191128. SECTION-1 LICENSE IS REQUIRED TO PURCHASE THIS LOT. Condition Report: Very clean and light weightAs listed on our website, unfortunately we are unable to offer a postage service for any firearms.
A Single barrel percussion shotgun. No makers name 16 gauge bore in reasonable condition light pitting brass patch box in stock, s/n. 1549. SECTION-58 NO LICENSE REQUIRED TO PURCHASE THIS LOT. Condition Report: As listed on our website, unfortunately we are unable to offer a postage service for any firearms.
A Wembley Stadium Seat Back Numbered 9 This seat was from the old Wembley Stadium and comes with a certificate of authenticity. This is one of the original 2000 Wembley Stadium Seats that were removed on October 6th 2002. These historic seats were installed in advance of the World Cup finals in 1966 and remained in place up to the stadium closure in 2000. Seat 9 comes with a certificate of authenticity from Wembley Stadium.
Panini Mexico 1970 World Cup sticker album This was the first debut album that started the worldwide Panini football sticker collecting craze. The album from 1970 is in good condition and comes complete with all stickers. The 1970 World Cup saw England arrive in Mexico as world champions. However, the magic of 1966 was not to be repeated, with England losing to Germany 3-2 in the quarter finals and not returning to the competition until 1982. The album features legends of English football, including Bobby Moore, Gordon Banks, Bobby and Jack Charlton and international stars such as Germany’s Franz Beckenbauer, Portugal’s Eusébio and Pelé from 1970’s winning team, Brazil. The 1970 World Cup saw England arrive in Mexico as world champions. However, the magic of 1966 was not to be repeated, with England losing to Germany 3-2 in the quarter finals and not returning to the competition until 1982. The album features legends of English football, including Bobby Moore, Gordon Banks, Bobby and Jack Charlton and international stars such as Germany’s Franz Beckenbauer, Portugal’s Eusébio and Pelé from 1970’s winning team, Brazil. Collection features 288 stickers and cards with a 50 page softcover sticker album on Italian language. All 16 teams that played in tournament appear in the sticker book. The combination of self-adhesive peel off stickers and cardboard cards is what makes Panini Mexico 70 quite unique. All the players and teams have been printed on thick cardboard cards which can be put into the album by using glue or a scotch tape. Posters and flags are produced as self adhesive stickers. Stickers and cards are not numbered at the back. To stick them you have to check the name of a player inside the album which can an exhausting process. Collection has been printed in Italy, but has been distributed in the United Kingdom as well. Panini Mexico 70 – 1970 World Cup Album general info Album size : 230 x 240 mm Album : 50 pages Stickers size : 36 x 53 mm Cards size : 53 x 75 mm Language : English Publisher : Panini Modena
Ireland Cap from the collection of football memorabilia-Bill McCracken (1883-1979) Ireland cap from the Collection of football memorabilia-Bill McCracken (1883-1979) Celebrate the extraordinary career of Bill McCracken, a pioneering footballer whose influence shaped the modern game. Known as “the man who changed the offside rule,” McCracken was a stalwart of Newcastle United, making 443 appearances over an illustrious 19-year tenure (1904-1924), during which he won three league championships, an FA Cup medal, and earned 13 Ireland caps. Elected to the Football Hall of Fame in 1971, his legacy endures as one of football’s most innovative and accomplished figures. Ireland Cap (1903-1904 Season): A rare artifact representing McCracken’s international career. Royal blue with gold tassel. The cap has the Irish Football association crest embroidered and was made by Hatters, AP Dalzell, Royal Avenue Belfast also embroidered on the inside of the cap. Further Details Club Ireland National Team Name Bill McCracken Season 1903/04 Condition Excellent condition considering age. Some evidence of minor war and tear on tassel Provenance Vendor is the 3rd Cousin of Bill McCracken and the cap was passed down through family along with other memorabilia included within the Bill McCracken (1883-1979) memorabilia collection. Provenance Available Letter Signed by Vendor
John McGovern Nottingham Forest League Cup Final Match Worn Shirt Date: 15 March, 1980 Location: Wembley Stadium Teams: Nottingham Forest vs Wolverhampton Wanders Final score: 0-1 Description: Match worn shirt in the second half of the final at Wembley worn in the second half by Forest Captain John McGovern Shirt comes signed by the team and with a rare signature manager Brian Clough – “Be Good – Brian Clough’ Shirt is framed and includes photo cards of Forest players and tickets from Wembley. John McGovern is renowned for his significant role as the captain of Nottingham Forest during their most successful period under Brian Clough in the late 1970s and early 1980s. McGovern’s leadership was pivotal as Forest achieved remarkable success, winning the European Cup twice in 1979 and 1980, alongside domestic triumphs in the Football League First Division and the League Cup. Known for his intelligence on the pitch, calm demeanor, and tactical awareness, McGovern’s captaincy exemplified Nottingham Forest’s disciplined and resilient style of play during their golden era under Clough’s management. Further Details Club Nottingham Forest Name John McGovern Shirt Number 4 Season 1979/80 Match League Cup Final Condition Shirt has been inside a frame and is in excellent condition.
Charity Shield Medal 1906/7 from the Collection of football memorabilia-Bill McCracken (1883-1979) Celebrate the extraordinary career of Bill McCracken, a pioneering footballer whose influence shaped the modern game. Known as “the man who changed the offside rule,” McCracken was a stalwart of Newcastle United, making 443 appearances over an illustrious 19-year tenure (1904-1924), during which he won three league championships, an FA Cup medal, and earned 13 Ireland caps. Elected to the Football Hall of Fame in 1971, his legacy endures as one of football’s most innovative and accomplished figures. Charity Shield Medal 1906-07 season Newcastle United played Corinthian as league champions and came out winners 5-2 I what was to be the last Sheriff of London Charity Shirts, the following year the match was to be known as the FA Charity Shield. This medal was awarded to Bill McCracken from this game. Further Details Club Newcastle United Name Bill McCracken Season 1906/07 Match Sheriff of London Charity Shield Provenance Vendor is the 3rd Cousin of Bill McCracken and the cap was passed down through family along with other memorabilia included within the Bill McCracken (1883-1979) memorabilia collection. Provenance Available Letter from Vendor
Historical Collection of Newcastle Chronicle press photos from 1944-1948 predominantly Newcastle United Collection of over 160 original black and white photographs from 1944 to 1948 in an album. Some are still loose. They are predominantly Newcastle United but there is the odd England v France and other team photos included. They are Newcastle Chronicle photos collected by the same gentleman when he was a young man and they have always been in the same family. The photographs come presented in a Newcastle Chronicle album alongside descriptions of the game/ player, as appropriate. The photographs are in excellent condition. The Album shows signs of wear commensurate with age The highlights of the collection include: - 1947/48 games and victory celebrations captured as Newcastle celebrated promotion to the first division - Photos of Newcastle legend Jackie Milburn - Big Newcastle games captured vs Liverpool and Leeds United - England Vs France wartime game at Wembley 1945 in aid of British and French war charities.
Dennis Law Signed Picture – Manchester United montage with certificate of authenticity Signed Framed montage of Dennis Law throughout his career at Manchester United. Denis Law, a Scottish football legend, played as a forward known for his agility and scoring prowess. He notably starred for Manchester United and Manchester City, winning the Ballon d’Or in 1964. His career spanned from the 1950s to the 1970s, leaving a lasting legacy as one of Scotland’s greatest playe
Stanley Pearson Memorabilia – Manchester United 1937-1953 Autograph book including signatures from the FA Cup winning side of 1948 and the autographs of Jack Warner and Jimmy Warner. Also included was the then Manager of Manchester United United , Matt Busby. The autographs were acquired by Stan Pearson and given to the vendor’s family member. Other autographs also included. Also included are articles from Manchester Evening News at the time of Stan Pearson’s passing, the Order of Service from his funeral and a photo of the team from the Manchester Evening News again at the time of Stan’s passing. There is a handwritten note accompanying the photos given to explain who was who in the team which can be linked back to the autographs. Stanley Pearson was an English forward who played for Manchester United from 1937 to 1953. A skillful and reliable goal scorer, he helped United win the FA Cup in 1948 scoring a goal and was a key player in the club’s post-war resurgence. Pearson made over 340 appearances, either side of the war, scoring 148 goals, and earned a single England cap. Provenance: The vendors mother was close friends of Stan Pearson and these items have been passed down through family.
Kelmscott Press.- Sire Degrevaunt, edited by F.S. Ellis, one of 350 copies on Flower paper, printed in red and black in Chaucer type, wood-engraved frontispiece designed by Edward Burne-Jones and borders and initials by William Morris, frontispiece with tissue-guard spotted and working loose, very light spotting to fore-edge, original holland-backed boards, upper cover titled in black, uncut, spine browned with ends little bumped, some very light or faint spotting to spine and upper cover, few faint marks, corners lightly rubbed, [Peterson A47], 8vo, Kelmscott Press, 1896 [issued 1897]. *** A popular story with Morris; Burne-Jones had painted a mural of The Wedding Procession of Sire Degrevaunt in Morris's drawing room at the Red House back in 1860.
Dickens (Charles) Bleak House, first edition in the original 19/20 parts, 40 plates by H.K. Browne ("Phiz"), with the explanation of the accident to plate 17 in part 9, rare 'Village Pastor' insert to part 15, part 1 lacking all rear ads., parts 4 & 12 lacking crotchet slip at rear (though present in other parts), part 4 'Darton's Publications' at rear 4pp. only (of 8), part 8 lacking first f. of advertiser and HW slip, part 16 lacking 'Grace Aguilar' insert, part 19/20 lacking first 2ff. of advertiser and slips (other advertiser ff. chipped at head of inner-margin), part 6 with some staining, foxing and browning to plates, part 19/20 stitching broken with some leaves loose, part 16 contents stitched but loose within wrappers, original printed blue wrappers, part 2 small bookseller's ticket to upper wrapper, part 4 spine repaired, part 15 much loss to spine and longer tear to lower wrapper affecting text, some staining and light surface soiling, some chipping and short tears to extremities, some loss to spines, few covers detached and some working loose, preserved in cloth drop-back box, [Hatton & Cleaver p.273-304], 8vo, 1852-53.
Bacon (Sir Francis) Operum Moralium et Civilium, first edition, second issue title, engraved portrait frontispiece, woodcut head-pieces and decorative initials, blank leaves A4 & 2E6, armorial bookplate of Richard Benyon, ?17th century ink inscription "Ex dono Societae: Mercator: Ad vent: Hamburg" ["The Merchant Adventurers of Hamburg"] to front free endpaper, title with small early Greek inscription to head and tiny rust-hole affecting letter of imprint, couple small ink spots within frontispiece, first few ff. and final f. with fore-margin browned and very slightly frayed, tiny worming to lower outer corner of first c.12 leaves, some light damp-staining to foot, some browning, generally light, lacking rear free endpapers, contemporary calf, rebacked and recornered, spine with morocco label, some wear to covers, housed in cloth drop-front box (morocco spine labels slightly worn, small sticker residue to spine), [Gibson 197; Wing B1110], folio, Excusum typis Edwardi Griffini [and John Haviland]; prostant ad Insignia Regia in Coemeterio D. Pauli, apud Richardum Whitakerum [and John Norton], 1638. *** The first collected works in Latin. "In the former edition of the work the 'Libri duo Instaurationis Magnae' was not included: but later unsold quires of the first edition of the Novum Organum, 1620 were appended to the book, and a new general title page was issued, in which the addition was recorded" (Gibson). In this copy, the title page includes the Novum Organum (second issue), but it was never added to the work.
Petter (George) A Learned, Pious, and Practical Commentary upon the Gospel according to St. Mark, 2 vol., titles, ink scribbles to vol. 1 title, slight loss to lower corner of a few leaves touching text towards ends, occasional repairs and tears to margins sometimes affecting text, occasional surface soiling and ink markings, modern calf, spines a little faded, light damp stamp to upper cover, a little rubbed, by Streater, 1661 § Tilotson (John) The Works of the Most Reverend Dr. John Tillotson, seventh edition, engraved frontispiece, occasional light worming and spotting, contemporary calf, rubbed, joints splitting, for T. Goodwin, B. Tooke, and J. Pemberton, 1714, light worming and browning, occasional staining; and 13 others, religion, v.s. (16)
Vitruvius Pollio (Marcus) De Architectura Libri Decem, additional engraved title, woodcuts within text, some full-page, engraved initials, head- and tail-pieces, early ink ownership inscription to engraved and letterpress titles, one or two early ink marginal notes, occasional light finger-soiling, contemporary calf, rebacked and recornered, a little rubbed, [Fowler 417; Berlin Katalog 1817; Cicognara 726; Willems 1097 'Magnifique edition, ornee de nombreuses figures sur bois dans le texte'], folio, Amsterdam, Louis Elzevier, 1649. *** One of the most important editions of Vitruvius. It is a compendium of architecture, and the arts of building embellishment. It also contains a Latin translation of Henry Wotton's 'Elements of Architecture', edited by Joannes De Laet.
Weever (John) Ancient Funerall Monuments within the United Monarchie of Great Britaine, Ireland, and the Islands adjacent, first edition, engraved frontispiece (trimmed to platemark and window mounted), additional engraved title, illustrations, wood engraved initials and headpieces, Q4 & 2R1 with small marginal paper defects, 4B2 with tiny rust hole to top edge, 4D6 with short tear and no loss, ?lacking final blank, occasional light spotting, previous owner's ink signature to title, later calf, rebacked, slight bumping to corners and extremities, folio, by Thomas Harper, 1631.
Eragny Press.- Flaubert (Gustave) Un Coeur Simple, one of 226 copies, wood-engraved illustrations, borders and initials designed by Lucien Pissarro and engraved by him and Esther Pissarro, spotting and light browning to endpapers and imprimatur f., original linen-backed boards, paper label to upper cover, uncut, small mark to upper cover, very light browning to spine, [Genz EP8], Eragny Press, 1901.
Eragny Press.- Flaubert (Gustave) La Legende de Saint Julien l'Hospitalier, one of 226 copies, wood-engraved frontispiece and border designed by Lucien Pissarro and engraved by him and Esther Pissarro, light browning to endpapers, original linen-backed boards, paper label to upper cover (a little browned), uncut, light marking to upper cover, [Genz EP7], 8vo, Eragny Press, 1900.
Sharpe (Tom) Indecent Exposure, first edition, signed by the author on title, light browning to endpapers, jacket with tiny nick to head of flap joint, spine very slightly toned, 1973; The Great Pursuit, review copy with slip loosely inserted, jacket with tiny nick to laminate near head of spine, very subtle toning to spine and panel extremities, 1977; The Wilt Alternative, jacket spine slightly faded, 1979, first editions, original boards, spine ends slightly bumped, dust-jackets, some light creasing and rubbing to extremities, Secker & Warburg; and others by the same (9)
Le Clerc (Sébastien) [Collection of engravings, probably removed from Isaac de Benserade's 'Metamorphoses d'Ovide en Rondeaux'], 2 vol., 212 engravings by Le Clerc & others, with contemporary ink manuscript titles and descriptions to facing numbered plates on verso of preceding plate and indices at end, all in neat hand presumably by Wm. M. Sale with his signature to upper margin of first plate in each volume, some light soiling, a few on thinner paper with letterpress to verso (cropped), bookplates of Wm. Michel Sale, Thos. Pennington of Bledlow, Bucks., and Montagu Pennington Sparrow, contemporary half calf, spines gilt with red morocco labels, rubbed, oblong 8vo, [Paris], [?1676]; sold as a collection of plates, not subject to return*** William Michel Sale was the son of the orientalist George Sale (1697-1736) who translated the Koran into English, and the father-in-law of Thomas Pennington.
Housman (Laurence).- Meredith (George) Jump to Glory Jane, first edition, one of 100 copies on Van Gelder paper signed by the publisher, plates and illustrations by Lawrence Housman, light browning to text and endpapers, original vellum, gilt, covers splayed, small bump to head of spine, very light, 8vo, Swan, Sonnenschein & Co, 1892.
Ruskin (John), editor. Dame Wiggins of Lee, and her Seven Wonderful Cats, woodcut illustrations, some by Kate Greenaway, half-title very lightly toned and with contemporary ownership inscription to head, occasional light finger-soiling, gutter cracked with some gatherings starting to work loose, light browning to endpapers, lacking front free endpaper, original pictorial cloth, gilt, very slight shelf-lean, some wear to corners, light rubbing to joints and extremities, Orpington, George Allen, 1885 § Milne (A.A.) The King's Breakfast, music by H. Fraser-Simpson, illustrations by E.H. Shephard, browning to endpapers, original cloth-backed pictorial boards, lightly faded, some spotting and light surface soiling, Methuen & Co., 1925; and others, most children's, including a small scrap album in decorative binding, v.s. (15)
Ravilious (Eric).- Armstrong (Martin) Desert, a Legend, number 73 of 100 copies signed by the author, original cloth, t.e.g., others uncut, dust-jacket (lightly soiled, spine browned with slight fraying at ends), 1926; 54 Conceits, first edition, light spotting, original cloth-backed boards, uncut, spine and edges a little faded, 1933, both with wood-engravings by Eric Ravilious, 8vo (2)*** The first contains the artist's first book illustrations.
Elzevier.- Bacon (Sir Francis) Sylva Sylvarum, ownership inscription "Geo: Sitwell 1677" to front free endpaper, later ink note tipped onto front free endpaper, title with small early ink reference to lower-margin, the odd spot or small stain, some very light browning to margins, contemporary calf, rebacked preserving backstrip, "Sylva" in ink manuscript to fore-edge, little rubbed, 1661; Historia Regni Henrici Septimi, small pencil purchase record of "R.W.G[ibson]" to foot of rear pastedown, front free endpaper working loose at foot, faint spotting to title, few very small marginal ink-stains, some light browning, damp-staining to lower-margin throughout but generally very light, contemporary calf, rebacked, quite worn, endpapers renewed, 1662, engraved titles, Amsterdam, ex officina Elzeviriana, [Gibson 186 & 127; Willems 1264 & 1278], 12mo (2)
![[Clemens (Samuel Langhorne)], "Mark Twain". The Adventures of Huckleberry Finn, first edition, later issue with 32pp. publish](https://cdn.globalauctionplatform.com/1f866690-87b3-4531-b66d-b2ae00a00296/d9350027-a6ba-4d36-b60f-b2ae00a1b752/468x382.jpg)
[Clemens (Samuel Langhorne)], "Mark Twain". The Adventures of Huckleberry Finn, first edition, later issue with 32pp. publisher's catalogue at rear dated November 1887, half-title, wood-engraved frontispiece and illustrations after E.W. Kemble, half-title with ink ownership stamp to head, occasional light soiling or staining, some light spotting, hinges repaired, original pictorial cloth, rebacked preserving original backstrip (little faded), one corner repaired and others worn, some light rubbing and surface marks, [BAL 3414], Chatto & Windus, 1884; and others by the same, including the first English edition of Tom Sawyer Abroad (1894), 8vo (10) *** The first mentioned first published in England, preceding the American edition by four months.
Smart (Christopher) The Poems..., 2 vol., portrait frontispiece (lightly offset), vol. 2 with 4pp. advertisements at end, armorial bookplate of John Keate DD., occasional light browning or faint spotting, attractive contemporary tree calf, spines gilt and with red and black morocco labels, vol. 2 one label sympathetically renewed, some wear to joints and extremities, joints cracked but holding, Reading, Printed and Sold by Smart and Cowslade, 1791 § [Edwards (Thomas)] The Canons of Criticism, and Glossary, Being a Supplement to Mr. Warburton's Edition of Shakespear, sixth edition with additions, additional printed title with advertisement leaf bound after, engraved armorial bookplate of James Leigh of Adlestrop, book-label of J.O. Edwards, some spotting and light browning, front free endpaper loose, contemporary calf, lacking spine label, some wear to spine ends and corners, rubbed, upper joint split but holding, for C. Bathurst, 1758; and others 18th century, poetry or literary related, including Davies' 3 vol. Dramatic Micellanies: Consiting of Critical Observations on Several Plays of Shakespeare, 8vo (11)
Chubb (Ralph N.) Songs of Mankind, one of 100 copies signed by the author, illustrations by the author, light foxing to margins, heavier to half-title, original buckram-backed boards, lettered and decorated in gilt, light rubbing to extremities but overall a very sharp example, 4to, Newbury, Privately Printed, 1930.
Flint (Sir William Russell).- Malory (Sir Thomas) Le Morte d'Arthur: The Book of King Arthur and of his Noble Knights of the Round Table, 4 vol., one of 500 copies, titles in blue and black, tipped-in colour plates after watercolours by Sir William Russell Flint, captioned tissue-guards, light foxing to fore-edge, bookplate to front pastedowns, original limp vellum with ties, a little browned with surface marks, t.e.g., others uncut, slip-cases, (edges browned, some joints split or becoming so, one or two tape repairs, worn), excellent copies, 4to, Philip Lee Warner to The Medici Society Ltd., 1910-11.
Simon (Oliver editor) Signature. A Quadrimestrial of Typography and Graphic Arts, New Series, Nos. 1-6 in 2 vol., very occasional light foxing, nos. 1-3 original wrappers, housed within original publisher's cloth-backed portfolios with ties, nos.4-6 bound together in modern cloth without wrappers and preliminary f. for each issue, 1946-48 § The Batsford Gallery Drawings and Paintings by Ronald Searle exhibition pamphlet, signed by Ronald Searle, foxed, 1947 § Harling (Robert editor) Images, nos. 1-4 bound in 1 vol., very light scatter foxing, modern cloth, spine foxed and faded, a little rubbed, 1949-50 § The Fleece Press prospectus for Ian Rogerson's The Graphic Work of Barnett Freedman, tipped-in illustrations, original wrappers, 2006, light foxing to all but last mentioned, and others typography and illustrative, including catalogues and works related to artists: Barnett Freedman, John Piper, Terry Frost, and Augustus John, v.s. (59)*** Included 'English Scottish & Welsh Landscape', 1944, and 'Love' by Walter de la Mare', 1950.
Hardy (Thomas) A Group of Noble Dames, first edition in book form, half-title, light browning to initial blank f. and very lightly to margins, occasional light soiling, gutter cracked at points but holding, upper hinge cracked and lower broken, original whity-brown flecked cloth, shelf-lean, spine slightly darkened and gilt faded, surface soiling, some wear to spine ends, joints and corners, [Purdy pp.61-62], James R. Osgood, McIlvaine & Co., 1891; The Oxen, few spots, original printed grey wrappers, extremities faded, [Purdy p.175], Hove, [Private Circulation Only], 1915; Late Lyrics and Earlier with Many Other Verses, first edition, half-title, some browning to endpapers and very slightly to margins, spotting to fore-edge, original green cloth, front cover with gilt TH monogram, spine ends and corners very lightly rubbed, dust-jacket, spine browned with some chipping to ends, some small ink-marks to head of spine and upper panel, one or two other light marks, few nicks to extremities, [Purdy pp.214-227], Macmillan and Co., 1922; and others by or about Hardy, 8vo (15)
London.- Maitland (William) The History of London, 2 vol., 128 engraved plates and plans (of which 32 folding), one engraved folding map, illustrations, list of subscribers at end vol. 2, occasional faint off-setting, previous owner's ink signatures to titles, 2P1 vol. 1 with small marginal loss to fore-edge, 9G2 vol. 2 with marginal finger-marks in various bright colours, occasional light spotting, nineteenth-century half morocco, cracked joints but holding firm, a little rubbed, bumping to corners and extremities, folio, for T. Osborne and J. Shipton, 1756-72.
Waller (Fats).- Hibbs (Leonard), editor. Swing Music, printed in black and white, few photographic illustrations, previous owner's name to inside lower wrapper, some rusting and staining around staples, original stapled pictorial wrappers, signed presentation inscription "Do me a favor! Marry me. "Fats" Waller" to head of upper wrapper, few small marginal chips or tears to lower wrapper, light toning and surface soiling, light creasing and wear to extremities, heavier to spine, joints split at ends but covers holding, 250 x 185mm., May-June 1936.
Perpetua Press.- Fifteen Old Nursery Rhymes, one of 150 copies, hand-coloured linocut pictorial title, border to Contents and 15 full-page illustrations by Biddy Darlow, light offsetting, original canvas-backed cloth, uncut, paper label on upper cover, a little faded at edges, 4to, Bristol, Perpetua Press, 1935.*** Charming work printed by Vivian Ridler and David Bland which was chosen by the First Edition Club as one of the "50 Best Books of the Year".
Naval & military.- Napier (Major-General Sir W. F. P.) History of the War in the Peninsula and in the South of France, 6 vol., first edition, half-titles to vol. 1, 2 & 3, 55 engraved plans, all but vol. 1 with publisher's advertisements at end, some foxing, some damp-staining, to varying degrees but sometimes heavy, particularly to plates, original boards, printed paper spine labels (some chipped), couple marks, some faint damp-staining, quite worn with some loss to spine ends, vol. 6 joints cracked, vol. 1 John Murray, vol. 2-6 Thomas & William Boone, 1828-40 § Southey (Robert) The Life of Nelson, 2 vol., first edition, second impression with p.258 (vol. 2) numbered correctly, vol. 1 with engraved portrait frontispiece, vol. 2 with frontispiece of facsimile signatures, publisher's advertisements at end, half-title to vol. 2 only, vol. 1 with 19th century ink gift inscription to front free endpaper, vol. 2 with small wax residue to front free endpaper, offsetting to titles, some very light browning, contemporary half calf over marbled boards, rebacked preserving original backstrips, corners quite worn, covers lightly rubbed, for John Murray, 1813; and others naval or military, including 7 vol. of Nicolas' The Dispatches and Letters of Vice Admiral Lord Viscount Nelson, some vol. with bookplate of Commander T. Suckling, v.s. (c.65)
Gregynog Press.- Edwards (Owen) Clych Atgof. Penodau yn Hanes fy Addysg, one of 400 copies, wood-engraved illustrations by William MacCance, some spotting or light foxing, mainly to fore-edge and first and last few ff., original Welsh sheepskin ruled and titled in brown, uncut, light browning to spine, spotting, Newtown, Gregynog Press, 1933 § Vaughan (Herbert M.) The Welsh Book-Plates in the Collection of Sir Evan Davies Jones, one of 100 copies on ordinary paper signed by Evan D. Jones, from an edition limited to 150, engraved frontispiece and plates, tissue-guards, some spotting, light browning to endpapers, original buckram-backed boards, uncut, fraying to printed spine label, couple small marks, browning to spine and head of covers, corners bumped and quite worn, A.L. Humphreys, 1920; and others of Welsh interest, a few Gregynog Press, v.s. (14)
Anderson (James) The Constitutions of the Antient and Honourable Fraternity of Free and Accepted Masons... Revised, Continued and Enlarged, with many Additions by John Entick, engraved frontispiece trimmed at foot, title in red and black, very occasional spotting or surface marks, light browning and water-staining, contemporary calf, rebacked with repairs to corners, gilt, covers scuffed and rubbed, for Brother J. Scott, 4to, 1756.
Flint (Sir William Russell) Minxes Admonished, or Beauty Reproved, one of 550 copies, colour frontispiece, spotting to final f. and endpapers, slip-case, (rubbed with splitting to edges), The Golden Cockerel Press, 1955; An Autobiography: In Pursuit, light foxing to covers, slip-case, (small stain to upper board, a little rubbed), privately printed for Sir William Russell Flint by The Medici Society Ltd., 1969, illustrations by Flint, original morocco-backed boards, spines browned, a little bumped and scuffed; and W.S. Gilbert's Savoy Opera and Iolanthe and Other Operas, illustrated by Flint, folio & 4to (4)
Berni (Francesco) Tutte le opere del Bernia in terza rima, lacking X2 and X7, title laid down, a few repairs to corners, a few contemporary ink corrections and smudges to text, occasional light surface marks and stains, bookplates to endpapers, front pastedown slightly peeling away at corner, eighteenth-century morocco, paneled in gilt, spine faded, bumped, chipped at tail, [Edit16 CNCE 5544], [Venice], 1545 § Erasmus (Desiderius) and Thomas More. Joco-Seria, id est Stultitiae Laudatio & Utopia Insula, 2 parts in 1, half-title, titles, lacking plate, contemporary calf, peeling to spine leather label, chipped at spine ends, joints split but holding firm, worn, London & Paris, Barbou, 1777, 8vo & 12mo (2).*** Scarce, seemingly only one other copy found in the UK of first mention.
Graves (Robert) I, Claudius, first edition, half-title, scattered faint spotting, original cloth, damp-staining and mottling to fore-edges, bumping to extremities, 1934 § Mitford (Mary Russell) Our Village, illustrations, scattered spotting, previous owner's ink signature to front free endpaper, original cloth, slight bumping to corners and extremities,dust-jacket, small loss to spine extremities, chipping and creasing to edges, light spotting, 1949 § [O'Nolen (Brian)] "Flann O'Brien" The Hard Life: An Exegesis of Squalor, first edition, half-title, ex-library with ink-stamp to title, bookplate, light spotting to first few ff., original cloth, slight bumping to corners and extremities, 1961 § Milne (A. A.) When We Were Very Young, illustrations by Ernest H. Shepard, previous owner's ink signature to front free endpaper, original cloth, slight bumping to corners and extremities, dust-jacket, small loss to spine extremities, slight creasing to edges, 1933; and others similar, 8vo & 12mo (c.300)
Bacon (Sir Francis) The Historie of the Reigne of king Henry the Seventh, fine woodcut title, armorial Jolliffe bookplate, title and first few ff. with inner-margin repaired and few neat repairs to extremities, including to very small worm trace to foot of title, first few Sig. with some light damp-staining to inner-margin, some very light browning or dust-soiling, else good, contemporary calf, rebacked, some wear and light staining to covers, lacking pastedowns, endpapers renewed, [Gibson 118; STC 1161], folio, I.H. and R.Y., 1629. *** A re-issue of the 1628 edition with cancel title-page.
Golden Cockerel Press.- Jones (Gwyn) The Green Island, one of 100 specially-bound copies, from an edition limited to 500, wood-engraved frontispiece and illustrations by John Petts, frontispiece very slightly offset and with couple light marks, very light spotting to endpapers, original pictorial two-tone green & grey morocco, gilt, t.e.g., others uncut, spine slightly faded, couple small marks, some light spotting, Golden Cockerel Press, 1946 § Grimm (Jakob Ludwig & Wilhelm Carl) Grimms' Other Tales, translated by Michaelis-Jena and Arthur Ratcliff, one of 75 specially-bound copies signed by the artist, from an edition limited to 500, wood-engraved frontispiece and illustrations by Gwenda Morgan, few faint spots, very light browning to margins at beginning and end, original pictorial purple morocco, gilt, t.e.g., spine faded, some spotting and light discolouration, mainly to upper cover, Golden Cockerel Press, 1956 § Griffiths (Bill) The Land Ceremonies Charm, one of 185 copies signed by the author and illustrator, colour illustrations by Mary Parry, original boards, printed paper labels to spine and upper cover, lower cover slightly rubbed, Tern Press, 1985; and others from various presses, v.s. (c.35)
Bawden (Edward).- Flaubert (Gustave) Salammbo, limited edition signed by Edward Bawden, light foxing, small stain to lower right corners, original cloth, spine browned, slip-case, spine browned, covers a little foxed, Limited Editions Club, 1960 § The Histories of Herodotus of Halicarnassus, translated by Henry Carter, 2 vol., first edition, original pictorial cloth, spines browned, New York, Heritage Press, 1958 § Austen (Jane) Frederic & Elfrida, one of 350 copies, original wrappers, The Kit-Kat Press, 1987, all with illustrations by Edward Bawden; and others illustrated by or about Bawden, including catalogues and exhibition ephemera and 4 Folio Society editions illustrated by Bawden, v.s. (c.45)*** Included, 'A Retrospective Survey', Cecil Higgins Art Gallery, 1988, 'Life in an English Village', 1949, 'Gulliver's Travel's' Folio Society, and Mountains, Ariel Poem, 1954.
![Daniel Press.- Pater (Walter) An Imaginary Portrait, number 11 of 250 copies, bound in green morocco, [by ?Morrell], cov](https://cdn.globalauctionplatform.com/1f866690-87b3-4531-b66d-b2ae00a00296/42ffc93c-c7b9-4e96-96d0-b2ae00a0dd72/468x382.jpg)
Daniel Press.- Pater (Walter) An Imaginary Portrait, number 11 of 250 copies, bound in green morocco, [by ?Morrell], covers tooled in gilt with rows of alternating letter "N" and small floral ornament interspersed with small dot, title in gilt in ruled frame to upper cover, spine gilt with small floral motifs (repeated on turn-ins), t.e.g., others uncut, spine a little rubbed and faded, spine ends neatly repaired, 1894 § Milton (John) Ode on the Morning of Christs's Nativity, number 3 of 200 copies, neat ink inscription to "Dodo...Christmas 1894" on front free endpaper, contemporary olive green morocco, by Morley of Oxford, tooled in gilt with wavy line border and small ornaments of stylised leaf and butterfly to corners, spine gilt in compartments and five raised bands, t.e.g., others uncut, a little rubbed and faded, some light staining, 1894, 12mo, Oxford, Daniel Press (2)
Dickson (Robert) and Edmond (John Philip). Annals of Scottish Printing, one of 500 copies printed on small paper signed by J. P. Edmond, illustrations, original cloth, rebacked, preserving original spine, edges uncut, Cambridge, 1890 § Watt (Robert) Bibliotheca Britannica; or A General Index to British and Foreign Literature, 4 vol. half-titles, vol. 1 final f. laid down, occasional water-staining and foxing, contemporary calf, rebacked, Edinburgh, 1824, light spotting, rubbed; and 48 others, some bibliography, some literature, v.s. (53).
*** Please note the description of this lot has changed *** Brontë (Charlotte, Emily & Anne) Novels of the Sister Brontes, 12 vol., 'Thornton Edition', edited by Temple Scott, half titles and titles in red and black, plates, light foxing, original green cloth, gilt spines, t.e.g., others uncut, a little bumped, one vol. with stain to upper cover, 8vo, Edinburgh, John Grant, 1905.
Hardy (Thomas) The Dynasts, 3 vol., one of 525 large paper copies signed by the author, etched portrait by Francis Dodd signed by him in pencil, printed in red and black, light spotting to endpapers, original vellum-backed batik boards, uncut, with the dust-jackets (rather torn and frayed, vol.3 defective), 4to, printed at the Chiswick Press, 1927.
Sporting.- Cuming (E. D.) British Sport Past and Present, one of 500 copies signed by the artist, tipped-in colour frontispiece and 30 plates by G. Denholm Armour, captioned tissue guards, bookseller's ticket to foot of pastedown, light browning to title, endpapers and fore-edge, scattered foxing, mainly near start, the occasional small stain or patch of light soiling, original pictorial brown pigskin, gilt, t.e.g., others uncut, spine lightly faded and with very short tear to head, few small stains or marks, rubbed, mainly to extremities, Hodder and Stoughton, 1909 § Paget (Guy) The History of the Althorp and Pytchley Hunt 1634-1920, one of 600 copies, plates, some colour, list of subscribers, one text f. and plate little frayed at edges, light browning to title, endpapers and slightly to text margins, foxing to endpapers and occasionally lightly elsewhere, gutter cracked at points but holding firm, upper hinge cracked, original vellum-backed cloth, spine little darkened and with short tear to head, lightly rubbed, London & New York, 1938; and others, sporting, 4to & 8vo (17)
Gill (Eric) Clothes..., one of 160 special copies signed by the author/artist on colophon leaf at end, wood-engraved illustrations by Gill, small red ink mark to front free endpaper, very light abrasion to title fore-margin, some spotting, mainly to first few ff. and fore-edge, original pigskin-backed Cockerell marbled boards, t.e.g., others uncut, partly unopened, light bumping to spine head and corners, some light rubbing to corners, 1931 § Donne (John) The Holy Sonnets, one of 550 copies signed by the artist, full-page wood-engraved illustrations by Gill, light browning to endpapers, title and very lightly to colophon f., original cloth, uncut, browning to fore-edge, spine ends and corners very lightly rubbed, dust-jacket with tears and fraying to edges, tape repairs to joints and edges to verso, small loss affecting letter to spine, High Wycombe, Hague & Gill, 1938; and 3 others relating to Gill or Robert Gibbings, including The Wood Engravings of Robert Gibbings (1959) in original printed clear plastic dust-jacket, 4to & 8vo (5)
Bacon (Sir Francis) Operum Moralium et Civilium, first edition, first issue, engraved portrait frontispiece (trimmed and laid down), woodcut head-pieces and decorative initials, blank leaves A4 & 2E6, divisional title at A5 with short closed tear to foot, 3Z6, 4K1&3 with very small hole affecting few letters, few small marginal defects, occasional tiny worming within lower margin, occasional small and light damp-staining to upper margin, some spotting, some browning, generally light but little heavier at points, contemporary calf, rebacked preserving original backstrip with ?later morocco label, endpapers renewed, [Gibson 196; Wing 1109], folio, Excusum typis Edwardi Griffini [and John Haviland]; prostant ad Insignia Regia in Coemeterio D. Pauli, apud Richardum Whitakerum [and John Norton], 1638.
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