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Preisdatenbank abonnierenBook of Hours.- Single leaf from an illuminated Book of Hours, manuscript in Latin, on vellum, in a fine textura script, single column, 15 lines, in dark brown and red ink, single 2-line initial in gold, blue, red and green floral decoration, single border of highly burnished gold ivy-leaves, 188 x 134mm., [?Paris], [c. 1400].
Lancashire now Cumbria.- Bryan William of Lindale in the Parish of Cartmel grant to his son Thomas William of Sealford in Westmorland his whole estate in Lindale, manuscript in English, on vellum, 20 lines, remains of red wax seal, folds, slightly browned, 146 x 330mm., 29th May 1596; and 6 other documents, v.s., v.d. (7).
UNPUBLISHED MANUSCRIPT: 'Fragments from the Fens or Chronicles of a Country Curate... collected by his cousin': a seemingly unpublished poem, 22pp with 14 pen and ink vignette illustrations, title page in gold and colours, contemporary green paper covered boards with gilt foliate decoration, lettered central to upper, square 8vo, circa 1860. The poem relates to Revd William O'Farrel Hughes (1838-1911), curate and later vicar in Cambridgeshire. (1)
ILLUSTRATED BOOKS: 'Rubaiyat of Omar Khayyam...reproduced from a manuscript written and illuminated by F Sangorski & G Sutcliffe', London, Siegle, Hill & Co, n.d (circa 1910): illustrations by A C Benson: illuminated initial letters and elaborate borders, decorative printed endpapers, publishers cream cloth, ornately gilt with peacock and foliate design, teg, 4to: with 15 others, illustrated books. (16)
MANUSCRIPT COOKERY RECEIPT BOOK: compiled by one Mrs Farrer of Henley on Thames, circa 1840s, approx 144pp filled in a legible hand, for recipes including Spanish Puffs: Lobster Cutlets: Little Pudding: Pomade Divine, and much besides, some spotting and a few leaves detached/creased, worn half leather binding of period, square 8vo. (1)
IRISH IMPRINTS: SMITH (Charlotte): 'What is She? A Comedy, in Five Acts as performed at the Theatre Royal, Covent Garden...', Dublin, printed by George Folingsby, 1799: 70pp: bound amongst 11 other Dublin and Belfast printed plays, late 18th-early 19thc: worn period sheep with spine largely deficient, old manuscript list of contents to FFE, a few leaves pulling, 12mo. (1)
GALLIMAUFREY: a box of various including 2 1930s manuscript ledgers of astronomical calculations by one Lieutenant Colonel A M Davies RAMC: boxed 'English Architecture' educational filmstrips by Visual Publications Productions: 1773 French book on venereal disease, maps, military interest et infra. (One box)
ASHANTI/GOLD COAST ARCHIVE: a substantial archive of material gathered by Sir John Maxwell 1875-1946), CMG (1921), knighted 1930. Scottish born, Maxwell entered the Colonial Administrative Service and was posted to the Gold Coast (now Ghana), serving as Assistant District Commissioner (1902): Travelling Commission (1905): Provisional Commissioner (1907): Commissioner for Eastern Province (1909): Commissioner for Western Province (1911): Colonial Secretary and Governor's Deputy (1916): Deputy Chief Commissioner (1921): Secretary for Native Affairs (1923): Acting Governor (twice): Acting Colonial Secretary: Attorney-General and Solicitor General. He retired in 1930 and died on 31st March 1946. A large quantity of official and personal papers from across his career, including photograph albums, records of official royal visits, ethnographic studies (many with his annotations to verso): diaries, printed and manuscript ephemera, broadsides and notices etc. Viewing recommended. (Quantity)
EAST INDIA COMPANY ACCOUNTS: manuscript accounts detailing movement of goods and customs charges by one 'Andrapore Pepper, bought for account of owners of ship 'Love', dated June 15th 1655, the extensive accounts columnised and priced in Bahars, bifolium folded, 3pp densely written, external dustsoiling (Coromandel Coast?): with 6 other manuscript account documents (five 17thc & one early 18thc, including a receipt for muskets dated May 1652 and signed by one George Swanley): together with a printed bill of lading dated 1690 and one other 17th century manuscript fragment. (9)
MISCELLANY: a small printed and manuscript miscellany, to include a 6 page (partial?) account of a voyage to Bengal dated 22nd January 1735: single printed leaf 'copy of translation of extracts from the Chinese criminal code of laws', transmitted to the President of the Select Committee, by the Viceroy of Canton, in April 1800': a will dated 20th October 1670, manuscript on paper over 6 leaves, string tied at head, old folds and dustmarking: with 4 other printed and manuscript items. (7)
NEWES FROM SPAYNE, 1620: CONTEMPORARY MANUSCRIPT COPY: 'Newes from Spayne translated accordinge to the Spanish copie (sic)': transcription dated 1620, 20pp in legible hand, some edge fraying and creasing to initial few leaves, scorch marks at front and rear, central vertical crease but generally in good condition, stitched as issued, 8vo. (1)
SHIP'S LETTER: letter entire from one George Swanley to a Mr John Pack, 'over against key nere ye cust. house in Thames Street London, headed 'from onboard his majesty's ship Princesse at Spithead..., 1664', 17 lines to one side on trading matters, mentioning 'English ships from Canary & Mallaga are at Wight staying for a wind...', further detail relating to shipment of 'Capt. Willowbyes tobacco' and wine, old folds with remains of wax seal, external dustsoiling: a manuscript order from Goldsmiths Hall, Westminster 1650, manuscript on paper in English, 26 lines in neat secretarial hand, old folds: printed receipt for East India Company stock, March 1657, with manuscript entries: plus 2 other 17th century documents. (5)
REBUILDING AFTER THE FIRE OF LONDON: manuscript indenture on paper dated 11 Nov(?) 1668, relating to property 'burned or demolished by reason of the late fire which happened in London..', 110 lines in neat secretarial hand over 4 sides, old folds and external dustsoiling. A contemporary note to verso adds 'the house was rebuilt by Arthur Soane(?) in 1669 @ cost £430'. (1)
18TH CENTURY ACCOUNTS: 4 sheets of manuscript accounts pertaining to Sir Thomas and Lady Ridge, April 1st 1763: includes 'Ribbon and Oatcake 2.6 pence...A pair of stays 2.2 pence': also manuscript inventory 'An account of the weight and value of Lady Ridge's plate as taken by Mr Henry Morris, March 23 1764', with a note, 'Mr Willis sold the plate for £216 3 shillings & 0'. A not inconsiderable sum for an aristocratic couple reduced to selling the family plate. (4)
MALTA: collection of printed, typed and manuscript material relating to Malta and Field Marshall John Lintorn Arabin Simmons, Governor of Malta 1884-88, and overseer of significant constitutional and social change on the island. Includes letters from Downing Street relating to purchase of land on Corradino Hill, Paola, petitions regarding the unfinished constitution and other documents in English and Italian. (Sm.Qty)
LEADWORKS, NORTH WALES: Mather Parkes & Co, manuscript valuation of their leadworks in North Wales, Jan 8th 1825, by one Robert Daglish: manuscript, 6pp+blanks, sheep backed marbled stiff card wrappers with printed label to upper, spine a little rubbed else in good condition. Based at Bagillt, near Holywell, but run from Liverpool, the firm appears to have been shortlived, being dissolved in 1827. In 1825 they advertised a 15 horsepower steam engine for sale, presumably replaced by the 25hp engine listed in this inventory. (1)
A MURDEROUS HUNTSMAN: CLARK (Thomas, huntsman): 'Diary of Sport with the O(ld) B(erkshire) Hounds, 1856-57': manuscript diary, 127pp, within red half morocco commonplace of period, spine deficient and front board loose. The hunting diary of Thomas Clark, a celebrated huntsman who worked for the Craven Hounds prior to the Berkshire Pack and then with the Duke of Beaufort's Hounds...'a curious incident that occurred at Yelford is related by Mr Lenthall. The hounds ran their fox down the village street of Yelford. Just as they passed, a big yellow tom cat belonging to the clerk's wife jumped over the hedge in front of the hounds. Poor pussy was instantly mopped up, and Clark, coming up at the time, caught sight of the cat in the middle of the pack. Giving 'Whoo Whoop' he jumped off his horse, throwing the reins to Mr Lenthall, and went in to perform the funeral rites of the supposed fox. When he found the mangled remains of poor murdered Thomas, he pitched the carcass over the hedge in disgust, and mounting his horse took his hounds home without saying a word...'.(1)
ALBERT DOCK, TOBACCO LEDGER: ms. ledger recording tobacco movements at Albert Dock, including names of ships, tobacco merchants (inc. John Player, Ogdens, Walkers and others), 1948-49 period, contents filled, original red cloth covers, rubbed and marked, folio: manuscript daybook of an unidentified cobbler, contents filled with day-to-day accounts circa 1840s-70s, original vellum covers worn and marked, tall 8vo: with another later cashbook, catalogue of Thomas Robinson & Son Woodworking Machinery c.1920, and one other manuscript volume. (5)
MANUSCRIPT CATALOGUE OF GLASSWARE: interesting manuscript catalogue, 'A Collection of Antique Glass from 1675-1800', compiled circa 1900, 40pp of entries with real photographic illustrations tipped-in, cloth backed marbled covers, much worn with edges bumped, 8vo: with 13 books of similar period, on collecting in various fields, including S E Winbolt's 'Whealdon Glass: the Surrey-Sussex Glass Industry', Hove 1933. (A box)
A collection of fifty-three autographs, 1815-1985, spanning the influential early 19th century Wendell Holmes and Lowell families from Massachusetts, 19th-century British aristocrats and other notable contemporaries, film stars, and the original singer of "A Nightingale Sang in Berkeley Square": Two-page letter, with remains of seal, signed by Mary Jackson Holmes (1802-25), the sister of Oliver Wendell Holmes, headed "Cambridge [Massachusetts] February 11th 1815". The letter was sent by one teenaged member of a leading Massachusetts family to another, Susan Cabot Lowell of Boston (1801-27), whose family gave its name to the town of Lowell, Massachusetts. Mary Jackson Holmes mentions her hobby of map-making, referring to Massachusetts, New Orleans and the Mississippi River; and mentions, apparently tongue-in-cheek, a letter from "his Excellency Sancho Panza". She died aged only 23 in 1825, a year after the birth of her son, Charles William Parsons. The Massachusetts Historical Society curates the Lowell Family Papers. with: (b) 51 clipped autographs, most of British aristocrats, laid on to 10 loose pages from an album (double-sided), each page inscribed "1878" or "c. 1878". All clipped from letters or other documents except for a one-page letter signed by the Marquis of Sligo, 1885. Signatures include Duke of Grafton, Marquis of Hertford, Earl Camperdown, General Lord Lucan, Viscount Hardinge, Duke of Buccleugh, Duke of Norfolk, W. G. Armstrong (gun-maker), Hugh Childers M.P., William Cope R.A., Sir Moses Montefiori (philanthropist), Joseph Prestwick (Professor of Geology).with:(c) The actress Anna Neagle, inscription and signature on mounted photographic still from the film "Sixty Glorious Years" ("An R.K.O. Radio World Release"), 24 x 19 cm., inscribed "Mabel Hope/It is nice to have you with us again in the Florence Nightingale picture/Anna Neagle" (some ink loss/flaking). Mabel Hope's name and Mill Hill, London NW7 address are inscribed on the back of the photo. Anna Neagle starred as Queen Victoria in the film 'Sixty Glorious Years" (1938). She also starred as Florence Nightingale in the historical drama film "The Lady with a Lamp" (1951), so the reference to this film suggests that the inscription was written in about 1951. with:(d) Three autographs of Judy Campbell (1916-2004), the original singer of the famous song "A Nightingale Sang on Berkeley Square", introduced in a Second World War revue in 1940: a signed photograph; a signed typed letter to "Jon Clarke" with the letterhead of her home, 21 Old Church Street, Chelsea, London SW3; and a photocopy of the title page of the sheet music for "A Nightingale Sang on Berkeley Square" (but with her original signature: the letter apologises for the fact that she had no original copy of the sheet music to send). In addition, a copy of the original sheet music is included in this lot. The letter is not dated, but must be post-1974, the date she moved to the Chelsea house (she was at that address until her death in 2004). Judy Campbell was the mother of Jane Birkin, the grandmother of Charlotte Gainsbourg, and the muse of Noel Coward. with: (e) Autograph of Tyrone Power (1914-58), the American film and theatre actor, in typed letter signed, dated 5 April 1956: "Dear Mrs Kirkpatrick, Thank you very much for your kind letter. I am delighted to hear that you enjoyed the production/ I had a pleasant time while in Scotland and as I have my own car, was able to see much of the beautiful countryside/ Thank you for writing to me, With best wishes, TYRONE POWER" (and signed above his typed name). On Grand Hotel, Birmingham headed notepaper, in the original envelope with the Grand Hotel's printed crest. Addressed to Mrs Jeanne Kirkpatrick of Giffnock, Renfrewshire. Power's reference to "the production" and to his time in Scotland must refer to his stage performance, in March 1956, in The Devil's Disciple by George Bernard Shaw at the King's Theatre, Glasgow and also in Edinburgh. Power's stay in Birmingham in April that year is probably explained by his starring roles in some of Associated Television's earliest programmes (he had been present at the inaugural ceremony for Midlands Independent Television in February 1956 in Birmingham). with: (f) Interesting full-page First World War-period manuscript letter written and signed by Andrew Bonar Law (1858-1923), dated 5 February 1917, when he was Chancellor of the Exchequer in Lloyd George's Coalition Government. With the Chancellor's printed letterhead and in the original envelope stamped "Treasury". Bonar Law writes to Mr H. O. Hope of Banwell Castle, stating that "The war has ... reached a position in which it is evident that the issue must largely depend upon the staying power of the combatants, and in my belief there is nothing which would do more to hasten a satisfactory peace than the evidence of the financial stability of the United Kingdom which would be shown by the complete success of the War Loan ..." Bonar Law goes on to invite Mr Hope to "make a liberal subscription to the Loan". A revealing sidelight on the vital importance of the mammoth 1917 War Loan, which raised the astonishing sum of £2 billion and which allowed the UK to keep fighting in the First World War. Bonar Law became Conservative Prime Minister after the General Election of 1922.
A group of six collages: one of which created by Ortale Goodsky, the other five of which are believed to have been created by Hopper.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Hopper's collaborator Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”14.5 x 11.5 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
A pair of assemblages believed to have been created by Dennis Hopper, from a metal sign, one on a board.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages of his own making in addition to his photographs and paintings. Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s [contemporary art] collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”PROVENANCE Property from the Life and Career of Dennis Hopper
A pair of painted metal lid collages, believed to have been created by Dennis Hopper.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages of his own making in addition to his photographs and paintings. Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s [contemporary art] collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”19 inches (diameter, largest)PROVENANCE Property from the Life and Career of Dennis Hopper
A group of six painted mixed media assemblages, believed to have been created by Dennis Hopper: one executed on glass, one on metal, one on a wooden board, and the others on paper, incorporating cloth, an IV needle, pen nib, tinsel, and other materials.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”15.25 x 10 x 2 inches (overall)PROVENANCE Property from the Life and Career of Dennis Hopper
A group of three mixed media assemblages (paper, buttons, ribbons, fuzz), two of which are double-sided, believed to have been created by Dennis Hopper.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages of his own making in addition to his photographs and paintings. Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s [contemporary art] collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”17 x 12 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
An original two-sided assemblage art piece created by Dennis Hopper. One side features paint on cardboard and two paper plates and the other side features a painted wooden board.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages of his own making in addition to his photographs and paintings. Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s [contemporary art] collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”26 x 21.25 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A group of six mixed media paper and cloth assemblages believed to have been created by Dennis Hopper, one of which is dated "1974" in blue ink.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”11 x 9 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
A group of eight mixed media collages, believed to have been executed on paper by Dennis Hopper. Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.” 14 x 8 inches (overall)PROVENANCE Property from the Life and Career of Dennis Hopper
Two painted board collages, believed to have been created by Dennis Hopper.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages of his own making in addition to his photographs and paintings. Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s [contemporary art] collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”18 x 20 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
A leather assemblage with metal components believed to have been created by Dennis Hopper. The assemblage is a work in progress, with duct tape affixing the components to the leather.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.” 14 x 10 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A group of five paper collages, believed to have been created by Dennis Hopper, some featuring handwriting on the verso.Though better known for his photography and paintings, Hopper was deeply influenced by assemblage artists such as George Herms, and created and exhibited assemblages and collages of his own making in addition to his photographs and paintings.Writing for Vogue in 1965, Terry Southern explained: “I asked Frank O’Hara, Associate Curator of Painting and Sculpture of the Museum of Modern Art, what he thought of Hopper’s collection. “Excellent,” he said, “but that’s not surprising because so is his own work,” referring to the myriad collages, assemblages, and photo-abstractions done by the collector himself—the bulk of which, as it turns out, was destroyed in the big Bel Air fire of 1961, along with some six hundred manuscript pages of poetry.”14 x 11 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
17th-18th century A.D. Group of sixteen leaves from a manuscript dealing with astronomical lore, written in dense blocks of thirty four lines of neat Naskh black ink script with red headings and highlighting; tabulation grids and marginal topic headers; front page with French title 'Ouvrage d'Astronomie de Sahnoun' (A work on Astronomy by Sahnoun); probably from North Africa. 106 grams, 25 x 18 cm (9 7/8 x 7 1/8 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. [16, No Reserve]
9th century A.D. Split along the upper edge of the plate; two slight flared lobes below the piercings for the attachment rivets; central panel ornamented with a length of tight interlaced knotwork and a zoomorphic terminal with triangular ears, bulbous eyes and a ribbed square snout. Cf. Webster, L & Backhouse, J., The Making of England. Anglo-Saxon Art and Culture AD 600-900, London, 1991, p.98, fig.69n. 8.44 grams, 37 mm (1 1/2 in.). Found Sheffield, South Yorkshire, UK. Both the interlace and the animal-head are drawn from the 7th-8th century manuscript tradition. This is a standard 9th century typology, seeming a nice version of the Trewhiddle style, closely allied to the early 9th century 'Tiberius' group of manuscripts, characterised by exuberant animals which are the descendants of the winged creatures and other sprightly beasts common in 8th century metalworks. [No Reserve] [For this specific lot, 5% import VAT is applicable on the hammer price]
18th-19th century A.D. With saddle-stitched binding, manuscript blocks of Arabic-script black-ink text, small heading text; several blank pages; probably from India. 38 grams, 15 x 10.5 cm (6 x 4 1/8 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. [No Reserve]
'Handel's Messiah, The Composer's Autograph Manuscript in Facsimile', pub. The British Library 2009; also two Folio Society volumes: Burkholder, Grout & Palisca 'History of Western Music' (2008); 'Music for King Henry - Commentary and Score' (2009)(with slip cases)(3 Vols) (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
ROYAL SIGNATURES, William IV, signature to printed vellum military commission, accomplished in manuscript, February 1837 for Joseph John Wakeham Payton (32x22cm) WITH similar commission to John Earl Hunter Peyton, signed by Queen Victoria, November 1861. Both signed (2) (Est. plus 20% premium)
7th-9th century A.D.. To both lateral faces, the upper face of the blade and the rear of the socket decorated with an interlaced design; slender body with bearded lower edge and curved blade, lateral spurs and rectangular panel to the butt. See Sedov, B.B., Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, pl.V (20), for type; Salin, B., Die Altgermanische Thierornamentik, Stockholm, 1935. 282 grams, 14 cm (5 1/2 in.). Private collection formed in Europe in the 1980s.Westminster collection, central London, UK.Accompanied by a copy of a four page report written by Saxon and Viking specialist Stephen Pollington.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11878-206842. The style of the design inlaid to the axe is interesting since it evidently owes a great deal to the kinds of Insular Style ornament found in manuscripts of the 8th century in the British Isles. The elegant curves of the narrow tendrils are strongly reminiscent of the zoomorphic elements found in the Lindisfarne Gospels, St Gall Codex and the Book of Kells (Salin, 1935, pp.342-3; Moss, 2018) and the inlaid designs show the characteristic parallel curves found for example on some of the initials in those documents. The tight knot serpentine bodies recalls the similar dense knot found in the Kells manuscript (Salin's figure 731). However, the details of the layout and execution show that the piece is unlikely to have originated in the British Isles. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website]
Private Press, Printing, Typography), a collection of approx. 31 titles, including Tern Press, Jericho, Cadenza, Fleece, Libanus etc, Herbert Cahoon; Frank Altschul (foreword): 'The Overbrook Press Bibliography 1934-1959', Stamford CT, [1963], one of 150 copies only, inscribed presentation copy to the printer "To Bernard Roberts. With appreciative regards. Frank Altschul" on FFEP, ix,[1],101,[3]pp, 4to, original cloth gilt. "The Overbrook Press is known for its high quality-in materials, design, and printing. Frank Altschul was a senior partner at Lazard Freres, an occasional hobby printer, and an important collector of fine books. He had the means, knowledge, and taste to create a private press of distinction..." Roderick Cave, The Private Press; 'The Book of Ruth. [Text of the Authorised Version.]', Nonesuch Press, London, 1923, number 89 of 250 copies printed in modified Caslon on Van Gelder paper at the Pelican Press, [24]pp, decorative borders after Bernard Salomon printed in sienna. Sewn into batik paper-covered boards, orig. card slipcase, printed paper title label; Samuel Taylor Coleridge: 'The Rime of the Ancient Mariner', Portland OR, Graphic Arts Workshop, Reed College, 1952, limited edition, No. 27 of 100 signed copies, signed by Lorene Schmidt, the designer, illustrator and typographer, errata slip tipped in, original quarter green cloth gilt, dust wrapper. An uncommon book, the binding was supervised by Rudolph Ernst and technical assistance was given by Lloyd J. Reynolds, a teacher at Reed College and well known calligrapher, and Don MacGregor; 'Herbert Hodgson, Printer. Work for T.E. Lawrence & at Gregynog', The Fleece Press, 1989, ltd. edn., one of 340 copies, tipped in port. frontis, orig. quarter cloth, printed label to spine, patterned paper covered boards; Andrew Motion; Andy English (ill.): 'Destination Norfolk: A Childhood Trip to Burnham Overy Staithe', Front Street, 2015, ltd. edn., No. 21 of 135 copies, wood engraved ills., oblong, orig. quarter cloth, printed title label mounted to front cover, matching cloth slipcase; John Randle: 'One Rainy Day', Whittington Press, 2000, one of 100 copies with an initial letter O by Miriam Macgregor on Zerkall Rosa paper, orig. stitched wraps, dust wrapper, card slipcase; Anton Francesco Doni: 'A Discussion about Printing which took place at "I Marmi" in Florence', 2003, limited edition, No.42 of 250 numbered copies, printed by Alberto Tallone, William Caslon types, 4to, original printed wraps, housed loose in orig. cloth backed boards folder, slipcase; Margot Coatts; Ian Beck (ill.): 'Portable Pleasures: Picnics for all Seasons', Libanus Press, 1992, ltd. edn., No. 176 of 250 copies, colour ills. (some full page), 4to, orig. quarter cloth gilt over decorative paper covered boards, printed title label mounted to front cover; Francis Meynell: 'Seventeen Poems', L, Fanfare Press, 1945, reissue of original 1944 edition by Nonesuch Press & J.M. Dent, signed & inscribed by Francis Meynell at front and dated November 1950, plus with an additional 7 line manuscript poem by Meynell at end, title page engraving by Eric Gill, orig. pictorial wraps by Leonard Beaumont; 'The Story of the Holy Mar Pappos', The Jericho Press, 2017, one of 60 copies, orig. cloth gilt; 'The Hebrew Types of the Jericho Press', Ely, 2010, No.15 of 60 copies only, orig. cloth gilt; David Grubb: 'A Country Alphabet', Nicholas & Mary Parry, Tern Press, 1998, No. 53 of 95 copies only, numbered & signed by Nicholas & Mary Parry, hand coloured ills,. throughout by Mary Parry, oblong small 8vo, orig. quarter cloth, acetate d/w; Hal Bishop: 'Romantic Landscape: The wood engravings of Raymond Hawthorn', Libanus Press for Bishops Books, 1999, limited edition, 140 copies in total, this number IX of 20 special casebound copies with wood engraving "A Foresaken Garden" in pocket at rear, numbered and titled in pencil to margin, original paper covered boards; plus others Black Light Press, Kit-Cat Press, The Reading Room Press, Grapho Editions, Cadenza Press, etc (approx 31 in total)
(Classical Architecture, Greece, Egypt, Antiquity), three early to mid 20th Century manuscript books containing notes and well executed architectural drawings and sketches, maps etc, compiled by one Eric A. Deedman, each with his ownership signature to inside front cover, two of the books with continuous pagination, being 90pp in total 'Notes on Architectural History', with cover title and m/s title at front of first volume, includes well executed pencil and pen & ink sketches of Pyramids of Gizeh; Sphinx; map of Egypt; tomb at Abydos; Tomb of Khnemhotep at Beni-Hasan; Temple of Khons, Karnac; Egyptian columns and ornament; entrance to the rock temple at Ipsamboul; temple at Edfou; map of Babylonian and Persian empires; Sargons Palace at Khorsabad, Assyrian 2nd period; Ziggurat; Persian column at Susa; map of Greece and plan of the Acropolis; The Parthenon east facade and column/ornament; the Propylaea, Athens; Greek examples of the Doric and Ionic order; the temple of Nike; the Erechtheion; Greek and Roman mouldings; Greek and Roman comparitive theatres, etc, all with corresponding m/s notes, the other book with 50+ unnumbered pages of similar but more roughly sketched illustrations and notes in pencil, all in matching contemporary cloth backed exercise books (each approx 20 x 16.5cm); together with a 1928 edition of 'A History of Architecture on the Comparative Method, for Students, Craftsmen, & Amateurs', by Sir Banister Fletcher, profusely illustrated throughout, original pictorial cloth gilt (4)
Peter Haining (1940-2007), a folder of his typed notes, correspondence, biographies, research etc., mainly relating to Fantasy fiction and Comic Fantasy Fiction, several with his manuscript corrections and annotations, including on Terry Pratchett, Douglas Adams, J.R.R. Tolkien, John Collier, Lord Dunsany etc
Iris Murdoch (1919-1999), Irish and British Novelist and Philosopher, 11 Autograph Letters Signed 1988-1996, all to a Mr Brian Hobson of Hong Kong and later Old Costessey, Norwich, all 1 or 1½pp, all but one headed in manuscript by Iris Murdoch (68 Hamilton Road, Oxford, or 30 Charlbury Road, Oxford), majority signed "Iris Murdoch", a couple signed either "Iris" or in initials, all manuscript addressed or with original m/s addressed envelopes by Murdoch, together with photocopies of seven letters by Brian Hobson to Iris Murdoch, 1988-1993, plus various related newspaper cuttings
(Karl Lagerfeld, Monte Carlo Ballet, Fashion), Roy Strong: 'Cecil Beaton: The Royal Portraits', 1988, signed & inscribed by Karl Lagerfeld to his god-daughter Virginia Gallico (née Virginia von Falz-Fein 1929), wife of the writer Paul Gallico "for Virginia. En souvenir de 2 Juin 90 à Grand Champ pour le visite de ce Reine Mère love Karl" on half title. In June 1990, during an official visit to France, the Queen Mother of England Elizabeth Bowes-Lyon made a detour to Brittany, visiting the Château de Penhoët, in the town of Grand-Champ, near Vannes, at the invitation of the owner, German fashion designer and photographer Karl Lagerfeld. For one afternoon, June 2, 1990, the English court took up residence at the castle, invited to take tea in the flower gardens of the estate. With some other associated ephemera loosely inserted, including manuscript table plans, printed wine list, three rose petals in folded piece of paper bearing manuscript note "Rose given to Virginia Gallico by Karl Lagerfeld from his Rose Garden at Grand Champ, Brittany, 2nd June 1990 during the visit of H.M. Queen Elizabeth, the Queen Mother", plus some other flower petals in folded paper, Chateau de Kerbastic, Brittany, menu card 1st June 1990 with various signatures/inscriptions to Virginia Gallico, etc, photographic illustrations throughout, original pictorial wraps depicting the Queen Mother; Karl Lagerfeld & Dr Jean-Claude Houdret: 'Le meilleur des régimes', Paris, Robert Laffont, 2002, signed & inscribed by Karl Lagerfeld to his god-daughter Virginia Gallico on half title, original pictorial wraps; together with Karl Lagerfeld, 2 titles: 'Sergei, Misia, Coco et les autres...100 ans de Ballets Russes, Chanel et "Le Train Bleu". Evocation + Répétition', Gottingen, Steidl, 2009, 1st edition, [72]pp, photogravure photographic illustrations throughout, original cloth lettered in silver, DVD by Chanel in pocket at rear, 'Les Nijinsky. Photos Karl Lagerfeld. Monte Carlo 2000/2002/2004/2006', Gottingen, Steidl, 2009, 1st edition, [144]pp, illustrations from photographs by Karl Lagerfeld throughout, original cloth lettered in silver; plus Helmut Newton (ill.): 'Les Ballets de Monte-Carlo: Photographiés par Helmut Newton', Monte-Carlo, December 1985, signed & inscribed by Helmut Newton to Virginia Gallico inside front cover "For Virginia from Helmut Monte-Carlo 21.12.1985", 12 full page b/w ills. from photographs by Newton, original wraps; plus Paul-René Martin, Marie-Claude Jequier et al: 'Serge Lifar: Une vie pour la danse', Lausanne, 1986, Serge Lifar headed card signed & inscribed by Lifar to Virginia Gallico, dated 30th October 1986, loosely inserted with a couple of other associated items of ephemera, original pictorial boards (6)
Nikolaus Pevsner: 'Pevsner on Art and Architecture: THe Radio Talks', edited Stephen Games, London, Methuen, 2002, 1st edition, signed by the editor to title page, plus 3 Typed Letters Signed by Nikolaus Pevsner to Hugh Courts Esq., Hampstead Heath and Old Hampstead Protection Society, October/November 1964, content re Pevsner holding a conducted walking tour, together with 6 pages of manuscript pen & ink notes by Pevsner on architecture of Hampstead, titled by him "Hampstead Speech", plus 2 further TLS from Pevsner to Hugh Courts, 1971, 4 on Penguin Books The Buildings of England headed paper, 1 on Birkbeck College Department of History of Art headed paper; together with other associated ephemera including 2 typed letters and 4 pages of typed notes with manuscript corrections being a memoir/recollections of Professor Nikolaus Pevsner by a former student of his in the 1960's, the covering letters dated September 1983
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