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Manuscript ideas for jokes & sketches, handwritten by Eric Morecambe, various ideas on 36 sheets of notepaper, this lot also includes an autographed black and white publicity photograph card of Morecambe & Wise signed by Eric Morecambe only in black ink  ❧ This is from Eric Morecambe’s private study at his home in Harpenden

Manuscript ideas for jokes, handwritten by Eric Morecambe on hotel paper during travels (New York and Adelaide); three typed prompt cards for speeches annotated by Eric; jottings & joke ideas on slips of paper; a small notepad filled with ideas for gags; a minute book sporadically filled with ideas for jokes & sketches ❧ This is from Eric Morecambe’s private study at his home in Harpenden

Manuscript draft of Stella, a novel, handwritten & typed by Eric Morecambe, together with a typescript version ❧ This is from Eric Morecambe’s private study at his home in Harpenden

Manuscript ideas for jokes & sketches, handwritten by Eric Morecambe, plus typed & annotated ideas for gags, and jottings on a stereo instruction manual, to include a rough draft of a humorous letter to Ronnie Barker where he discusses other comedians ❧ This is from Eric Morecambe’s private study at his home in Harpenden

Manuscript drafts of letters to David Frost and Ronnie Barker, handwritten by Eric Morecambe; a typed speech honouring Des O'Connor; early Morecambe & Wise programmes, 1950s & 1960s; several early handbills, including "Ernie Wise & Morecambe", 1942, and "Morecambe & Wisdom", 1948 [a brief change of name designed to avoid confusion with another act called "Wise & Lane"]; a typed script of the Morecambe & Wise Autobiography; a playbill and running order from the Ed Sullivan Show; Eric Morecambe's financial material (building society paying-in books, share accounts, ledger, VAT invoices); Eric & Ernie Australian Equity receipts, signed ❧ This is from Eric Morecambe’s private study at his home in Harpenden

Ten manuscript sketch & joke ideas, some used on television & Christmas shows, handwritten by Eric Morecambe, together with a typed & annotated speech by Eric (11) ❧ This is from Eric Morecambe’s private study at his home in Harpenden

Manuscript Ideas. Television sketch ideas, handwritten on notepaper by Eric Morecambe, including small illustrations of props/costumes, on 12 sides of foolscap, together with a small notebook partially-filled with ideas for jokes & gags Note: the costume initially sketched by Eric in this lot is probably lot 644  ❧ This is from Eric Morecambe’s private study at his home in Harpenden

G Spawton Callow (British 19th Century); hand-written Golden Wedding Anniversary manuscript, from the Charles Street Chapel, Leicester, illuminated in gilt and decorated with a border of foliage, signed; together with a wooden fretwork panel of the Lord's Prayer and a preaching plan for The Wesleyan Methodist Preachers in the Whitby Circuit, max 69cm x 59cm (3)

A FIRST EDITION OF THE PRINTED CHRONICLE TARIH-I SAMI VE ŞAKIR VE SUBHI BY SUBHI MEHMED EFENDI (D. 1769)Istanbul, Ottoman Turkey, dated 1198 AH (1784 AD) Ottoman Turkish printed book on lined paper, two parts in one volume, 247ff. with 2 fly-leaves, with 33ll. of black ink printed naskh script to the page, the first 9ff. featuring the dated colophon, title page, and introductory remarks, the opening with an elaborate cusped arch in-filled with split palmettes and flower scrolls and the bismillah, printed by the Müteferrika Press (Ahmed Vasıf Efendi and Beylikçi Raşid Efendi) in Istanbul, dated 1198 AH at the bottom of the colophon, in a modern blindstamped calf imitating Ottoman wallet-style binding. 31.5cm x 19.5cm the folio Provenance: Bonhams Knightsbridge, 31 March 2021, lot 13. In 1745, the death of the Müteferrika Press founder, Ibrahim Müteferrika, caused a sudden halt in prints. An attempt to revive it was done in 1756 by his successors, but it failed. It was later sold by the heirs to two court secretaries, Ahmed Vasıf Efendi and Beylikçi Raşid Efendi, who restarted the press production. This printed book is a chronicle of the early and middle two decades of the 18th century written by the official court historian Mehmed Subhi, including earlier historical accounts by Mustafa Sami and Huseyin Şâkir, and was the first production from this iteration of the press (Christiane Gruber, The Islamic Manuscript Tradition: Ten Centuries of Book Arts in Indiana University Collections, 2010). Qty: 1

Irwell Bank Spinning Company Ltd 'To Abraham Wood Esq' an illuminated presentation manuscript, produced to show appreciation for nine years service as general manager, signed by the chairman and various other nominees, dated July 24th 1909, within a broad gilt mount and moulded frame, under glass 74cm x 54cm overall. *The seven floor Irwell Bank Mill at Stoneclough was once Europes' largest Mill and was demolished with 30lbs of gelignite on April 4, 1977.

From the Reign of George V, dated 1922, manuscript with pendant wax seals and heraldic seal cases relating to renowned surgeon Sir Thomson Walker, framed, 78.5 x 80.5cm overall

Dad's Army (BBC Sitcom 1968-1977) - Sergeant, Save My Boy! (Fourth Series) - David Croft's original handwritten manuscript for the fourth series episode 'Sgt, Save My Boy!' in which Private Pike manages to get himself tangled up on barbed wire on a mined beach, and the platoon must work quickly to save him. Written in blue, black, red and green ink on unpunched foolscap writing sheets, with several alterations and amendments. The manuscript largely matches the final episode, but with some occasional differences with lines and short sections of dialogue. 34 handwritten pages, lacking the first page. Accompanied by a letter from Croft dated 6th November 1995, in which he tells 'I am enclosing a manuscript of a Dads Army programme. Unfortunately, the first page is missing but it is the MS of "Sergeant, Save My Boy" which went out a couple of weeks ago and is the original in my own bad handwriting with alterations, baloons (sic) and afterthoughts. I can write better than this but in trying to keep up with my thoughts, legibility goes out of the window. Having written it down, I would then have read it onto a dictating machine - with alterations - and my secretary would have copied it. The programme was then recorded in the studio on 27 June 1970.' The manuscript survives in excellent used condition, with some edge curling present to the first two pages. A unique and important piece of British Comedy history.Provenance: Our client undertook a work placement at the BBC in the mid-nineties, attached to Croft's office. After writing a thank-you letter to Croft, this script was then received in the post. This manuscript was featured in early 2024 on an episode of Antiques Roadshow (viewable here). Dad's Army was a British television sitcom about the Home Guard during the Second World War. It was written by Jimmy Perry and David Croft, and originally broadcast on BBC1 from 31 July 1968 to 13 November 1977. It ran for nine series and 80 episodes in total; a feature film released in 1971, a stage show and a radio version based on the television scripts were also produced. The series boasted an ensemble cast, including: Arthur Lowe as Captain Mainwaring, John Le Mesurier as Sergeant Wilson, Clive Dunn as Corporal Jones, John Laurie as Private Fraser, Ian Lavender as Private Pike and Arnold Ridley as Private Godfrey, amongst others. The series regularly gained audiences of 18 million viewers. 21cm x 33cm

A pair of 19th century Indian Mughal illuminated manuscript fragments. Each with central illustration depicting seated man & woman, flanked by calligraphic text. Mounted, framed & glazed.Measures approx. 30cm x 26cm including frame.

A 19th century Indo-Persian manuscript page with central painted medallion miniature depicting two ladies drinking wine, loosely mounted but unframed, 15 by 24cms.

A 19th century Indo-Persian manuscript page with central painted medallion miniature depicting a prince and his concubine drinking wine, loosely mounted but unframed, 15 by 24cms.

A 19th century Indo-Persian manuscript page with central painted medallion miniature depicting a prince and his concubine drinking wine and playing a musical instrument, loosely mounted but unframed, 15 by 24cms.

An Islamic Talismanic Illuminated and Illustrated Manuscript Scroll.An Islamic manuscript scroll featuring intricate calligraphy and vibrant illuminations. The scroll includes panels with floral motifs, celestial diagrams, astrological charts, and illustrated figures. Richly coloured with gold, blue, and red accents, the manuscript is inscribed in black ink with marginal notes and decorations in various vibrant hues.Approximately 440 x 8.7cm

An Indian Miniature Depicting Jahangir Observing an Elephant Fight in a Mughal Court Scene.An Indian miniature painting, likely part of a Mughal manuscript or album, illustrating Emperor Jahangir on horseback witnessing an intense elephant fight. The richly adorned elephants clash amid a scene filled with attendants and courtly activity. The reverse side features Persian text, suggesting its origin from a historical or poetic manuscript.Approximately 26.2cm x 20cm

Late 18th century, manuscript mathematics exercise book, 176 pages on 88 leaves, bound in pigskin, owner inscription of G. Beale.

MANUSCRITOS.- BENAVENTE (Irmandade dos Passos).- Livro dos assentos dos Irmãos da Irmandade dos Passos de Benavente.- Século XVIII/XIX (1731-1870).- 1 vol. (±300 f.); 30 cm.- E., Thick volume, containing 760 pages, of which around 460 are blank. Manuscript by several hands, dated between 1731 and 1870 (last entry). On the front of the second sheet there is the following inscription: Livro q hade servir dos assentos dos Irmãos dos Passos desta V[ill]ª de Benavte. e principia a servir em o año de 1731. O Juiz da Ordem da Com[ar]ca. de Benav[en]te. Fr. Caetano Joze da Rocha. On the verso of the fourth sheet, an opening statement, signed by him, dated March 3, 1734. On the front of the sixth sheet, the title drawn in red and blue, with the initial I decorated in gold: Inventario desta Irmandade dos Santos Passvs anno de 1737, followed by eight chapter index sheets (with epigraphs in red and blue) and a curious alphabetical index of brothers, with the initials cut out in the outer margin. The volume includes more than 1,500 records, with identification of the brothers, date of entry into the brotherhood, alms and other information. The first seat dates from March 6, 1731 and the last from March 27, 1870. It retains the solid binding of the period, entirely in calfskin, with dry decoration on the planes and a large flap covering the cut of the drip and extending over the back plane (with remains of the nastro clip). The Our Lord of the Passion of Vila de Benavente was responsible for establishing the Cruzeiro do Calvário, in the square with the same name, in 1644. About the Brotherhood the Holy Cross you should see: Almeida, Justino Mendes de, Compromissos da Confraria e Irmandade dos Santos Passos da Vila de Benavente, in Estudos Benaventinos, Ano I, Benavente, 1957, pp. 27-33.

The original manuscript from the book on Pink Floyd by Rick Sanders, published by Futura Press in 1976, including publisher correspondence with the author, Rick's notebook and contact book from the original project, a proof copy of the original cover with attached complimentary slip, copies of early Pink Floyd tour venues and dates, copies of reviews, interviews with band alumni and detailed reviews of Floyd catalogue examples etc.A truly incredible glimpse of a writer's research into a band that graduated from the psychedelic underground scene to become one of the most revered and innovative that Rock has ever produced, from the days of the ever fascinating Syd Barrett to the time of Dark Side of the Moon and Wish You Were Here, the original was the first to catalogue their career to that point.Provenance: The Rick Sanders collection.

AD. 1807 (1222AH). An exceptional illuminated Qur'an, Kashmir, North India, dated 1222AH (1807)Arabic manuscript on paper, xxff. plus one flyleaf, each folio with 14ll. of black naskh script, the pre-text bifolio with gold circles to the folio, each containing pre-recitation prayers within scrolling flowerheads, the left hand circle dated 1222AH (1807), subsequent folio with library stamp dated 1223, the opening, the final, and six further bifolios at chapter headings with elaborate gold and polychrome illumination in eight-pointed stars enveloping the text, the rest within floral scrolling borders and horizontal gold bands, red vocalisation marks, black diacritic marks, gold circular verse markers, the word Allah in red, catchwords, marginal notes in Persian nasta’liq script, other marginal marks in gold and polychromes, red edges, in Kashmiri lacquer binding, the exteriors with a profusion of flowers and foliage, the interiors each with a flowering tree in the ‘mille fleurs’ style against oxblood ground, the folio 18.7cm x 11.7cm, the text panel 12.5cm x 7.2cm.

A manuscript written by Salah al-Din Khalil bin Aibak al-Safadi, who died in the year 764AH, detailing the poem by Lamia Al-Ajam, composed by the writer A-Hussein bin Ali Salem b (Al-Tughra'i.)Size: 260mm x 190mm; Weight: 1.1kgProvenance: Previous property of a UK Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 18th century AD . An Arabic manuscript on paper, xxff., each folio with 14ll. of black thuluth script, plus five flyleaves, the opening bifolio with fine and elaborate gold and polychrome illumination, the subsequent folio heading with gold and polychrome illumination, the text within cloud bands reserved against gold, in gold and black rules, chapter headings, vocalisation and marginal marks in red, catchwords, in gold and black rules, blue and gold stellar marginal markers, library stamp marked 1011, blue ink marginal note dated 1298AH (1881), in more recent maroon blind-tooled binding, the folio 21.5m x 12cm., the text panel 16.5cm x 8.5cm. Size: 220mm x 130mm; Weight: 1.03kg Provenance: Previous property of a UK Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. Late 15th century AD . A manuscript - sura al a'araf. Arabic manuscript on paper, 24ff., each folio with 9ll. of black thuluth script, chapter heading in gold, catchwords, black diacritic marks, red vocalisation marks, gold rosette verse markers, fine gold interlinear rules, laid on later wove paper, within green, red, blue, gold, and black rules, in plain margins, green endpapers, in later dark brown calf binding, each folio 45cm x 31cm, the text panel 29 cm x 19.5cm. Size: 450mm x 310mm; Weight: 1.01kg Provenance: Previous property of a UK Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

* Valentine. A handmade Valentine addressed to Miss Mary Guttery, February 14th, 1811, wove paper bifolium, with half of second leaf torn away, first page with pen, ink, and watercolour design of a love knot in the centre, with hearts above and below, surrounded by manuscript between flower stems, the whole within two double line ink borders, captioned at head between the borders 'February 14th 1811', third page with remains of a manuscript verse, verso (soiled) addressed to 'Miss Mary Guttery to be left at Robinhood=well Camsall near Doncaster', small traces of red wax seal, folds forming 'envelope', torn and some neat archival tape repairs, with a few small losses, leaf size 23 x 18.5 cm, together with a number of other Valentines and ephemeral items, including: a handmade folding Valentine, circa 1840, with heart within foliate wreath on the front and star within floral wreath on the back, both surrounded by manuscript, dust-soiled, 11.5 x 11.5 cm, unfolding to 33.5 x 33.5 cm, revealing a young lady sitting on a young gentleman's knee in the centre square, decorative motifs and accompanying manuscript on the surrounding 8 squares (e.g. 'If you refuse To be my wife, You will bereave Me of my Life'), each square with diagonal fold to form interlocking triangles, some tears, adhesive tape repairs to most folds; 2 papercut Valentines, one of a bird and a serpent, the other of a moth; an engraved lace-paper Valentine titled The requisite Contents of a Lady's Dressing Case, with flaps captioned with an article relating to a lady's toilette, opening to reveal a virtue (e.g. 'Pomade divine' reveals 'Amiability'); a circular pin-prick and watercolour letter dated 1859, written in German, and threaded with pale pink silk ribbon, 4 folds to form a triangle; 9 folded unmarked manuscript dance cards, each with a watercolour illustration of a Kate Greenaway style figure on the front; 10 small cards each with a skillful watercolour floral or border design, 7 written in manuscript with a puzzle or enigma; and a colour lithographed bifolium rebus printed on 3 pages titled The Picture Letter, by Catherine Sinclair, circa 1860, somewhat torn, various condition and sizesQTY: (approx. 25)NOTE:The well-spring at Barnsdale, near Doncaster, known as Robin Hood’s Well was first recorded by local antiquary Roger Dodsworth as ‘Robbinhood-well’ in 1622. In 1710 a finely-cut arched limestone well cover was erected there designed by Sir John Vanbrugh for the Earl of Carlisle. It became a tourist site and meeting place in the 18th and 19th centuries. The above Valentine shows it was also just the place to secrete a letter from one lover to another.

* Valentine. A handmade miniature heart-shaped puzzle love token, early 19th century, the heart-shaped varnished covers with watercolour illustration of roses, forget-me-nots, fuchsias, anemones, and a bird, one side with faint 4-line stanza in manuscript, the other side with a pen & ink illustration of a flute and an open book with text on one page and musical notation on facing recto, covers a trifle rubbed, opening up to reveal 3 three-dimensional segmented quatrefoil leaves, each giving the appearance of a flower with 4 heart-shaped petals, closely written in neat pen & ink with 23 numbered riddles, size when closed 6 x 7.5 cmQTY: (1)NOTE:A beautifully-made early love token, with such conundrums as 'Why is an egg overdone like an egg underdone', 'Why is a Steam engine like a Prime Minister' and 'If a poker tongs and shovel cost five shillings what would a chaldron[sic] of coals come to'.

Carter (Elizabeth). Select Poems, designed for the Improvement of Young Ladies..., by Miss Carter and Others, Waterford: Printed by Hugh and James Ramsey, Booksellers, on the Quay, 1772, 90 pp., light spotting and toning to some leaves, D1 with tear to margin not affecting printed text, 1 leaf (only) of advertisements to verso, faint juvenile drawings to pastedowns, contemporary full sheep, small areas of loss to spine and corners, small circular repair to upper cover, small oblong 8vo (8.5 x 10 cm), together with: Manuscript. The True Story, Web Spinner, [Howitt, Mary], mid to late 19th-century, calligraphic title, 6 pages of manuscript text and 7 full-page pen, ink and watercolour drawings with manuscript captions, 2-page letter to A. M. Goodrick? from the creator of the manuscript with their initial 'M' tipped-in to rear pastedown, original blue paper wrappers, somewhat rubbed and worn, 8vo (18.5 x 11.5 cm), Cowper (William). Retirement. London: Wright and Albright, 1840, contemporary wrappers with title label to upper cover, rubbed and worn, oblong 24mo (7 x 9 cm), Fenelon (Francois De Salignac De La Mothe). Little Tales by Fenelon, 5th edition, 4 volumes, Guben: F. Fechner, and London: A. & Joseph Myers & Co., circa 1855, blind-stamps to titles, 8 hand-coloured lithograph plates, publisher's patterned silk-covered boards with embossed centrepieces, the whole contained within original decorative box with embossed 'The Lilliputian Library' to lid, soiled and worn with loss of some letters, plus 20 other 19th-century juvenalia, mostly defective, including 3 miniature volumes. QTY: (24)

* Playing cards. Mesmaekers Freres, Turnhout, Belgium, late 19th century, 20 sample packs of Great Mogul playing cards, each comprising 12 court cards only (French suits), colour lithographed single-figure, no indices, square corners, many with stencilled number to upper corner, 3 packs with additional ace of spades: one stating 'Manufactured in Belgium', the other two 'Manufactured abroad for Champneys & Co., London', various patterned versos, original decorative wrappers printed in gold & colour, 16 with large outer decorative wrapper, most with manufacturer's decorative paper sealing label, all complete, some toning (variable quality cardstock), scarce light spotting, wrappers with occasional toning or marks (generally minor), few small tears, with another Mesmaekers Freres sample pack no. 5022, double-ended French pattern-type courts, each with maker's name, also aces of spades and clubs, original wrapper (toned and slightly spotted, some small losses and tears to folds), with manufacturer's sealing label, together with: English pattern miniature pack, unknown maker, early 19th century, 48 (of 52, without AS, 5 & 7H, the 10H added from a similar deck) stencil coloured wood engraved playing cards (French suits), single-figure courts of early design (JC with full arrow, KC with imperial orb surmounted by cross), all on laid paper, with additional Swan card, featuring an uncoloured engraved swan on water, some faint toning, 7C with near contemporary ink manuscript ownership inscription on verso ‘Elizabeth Jones who is now Mrs Marklove, Berkeley’ (with associated early ink staining on recto), no indices, square corners, plain white versos, each card 28 x 21 mm, AS and 5 & 7H added as modern hand-drawn copies, plus: Antoine van Genechten, Turnhout, Belgium, late 19th century, nine sample packs of Great Mogul Superior Cards, each comprising 12 court cards only (French suits), six packs lithographed with stencil colouring, each with stencilled number to one corner or top edge, one pack single-figured, the rest double-ended, no indices, square corners, various patterned versos, the other 3 packs colour lithographed, double-ended, no indices, rounded corners, 2 with patterned versos, one with dark blue floral posy on blue, original wrappers (some tears and generally small losses), printed in gold & colour, with another 20 decks (most complete) including: two French Gatteaux pattern, one 1816-1829, the other circa 1830; a matching pair of commemorative World War I decks, Brepols, 1919; Goodall pack, 1920s, in unopened Type W3 tax wrapper, card versos with motorcycle and sidecar, and others, plus 20 card games (not checked for completeness), including: The Amusing Game of Golliwog (De la Rue, circa 1902), Abrégé de l'Histoire des Empereurs (Renouard, 1809), Shuffled Symphonies (Disney), Household Words (John H. Pray & Sons of Boston), Hallo! Funny Face (1908, a game of making faces from various facial parts), many with original box (often defective), plus some playing card-related ephemera: [Diderot & D'Alembert], 5 (of 6, without plate 4) engraved plates relating to cardmaking, taken from The Grande Encyclopedie, ou Dictionnaire Raisonne des Sciences, des Arts et des Metiers; a Valentine's card, by Raphael Tuck, with a WW2 soldier as the King of Hearts; 2 tax wrappers, Great Mogul by Josh. Hunt & Sons, and For Freedom by Chas. Goodall & Son (both defective); and a 4 pp. ink manuscript document 'The Patiences', circa 1870-1880 (detached along folds)QTY: (78)

* Collett-Mason (William Wallace Collett, pseud. Uncle Bill, 1895-1957). ''Mr Ginger'', circa 1930, a series of 53 original illustrations and sketches, including 13 in watercolour with pen and ink, each with title to lower margin, bound with 74 pages of original manuscript story in blue ink, front pastedown with ownership name and address in pencil 'F/Lt W. Collett-Mason, 23a Prince of Wales Terrace, W8, (WRS: 2091)', bound in limp wrappers, titles in manuscript to upper wrapper, hole punched at spine edge tied with string, folio, together with 21 further pen and ink drawings (including some duplication), each with title and some with page number in pencil to lower margin, with similar inscription in pencil to front pastedown, bound in limp wrappers, titled in manuscript to upper wrapper, hold punched at spine edge, tied with string, folio, plus 19 additional pen and ink with pencil sketches of illustrations for the book, bound in limp wrappers, folio (42.5 x 34.5 cm), together with First Love by Cee Mme, gouache on board, signed lower right (published in Bystander, 27th Feb 1929), with publisher's notes in pencil to lower margin, sheet size 77 x 54 cm, Francis & Mills label and Bystander stamp to verso QTY: (3)NOTE:Provenance: By direct descent from the estate of the artist.William Collett-Mason, familiarly known as 'Uncle Bill' by his family, was educated at Eton, and from Sandhurst entered the Eighth Hussars. He studied under Professor Tonks, Sir William Rothenstein, Bernard Adams and Leon Underwood, and travelled extensively. In 1929 he sailed from Liverpool to New York on the Samaria, listing his profession as an artist. During the 1930's he was living and working in Kashmir, where he held a one-man show in Quetta. By 1939 he was living at 32 De Vere Gardens, London, the census listing him as a traveller. During World War Two he was a Pilot Officer before being promoted on 7th March 1942 to Flying Officer. By 1951 he was living at 23a Prince of Wales Terrace before finally moving to Tunbridge Wells.A short article on the artist illustrating three of his head-and-shoulder portraits appeared in the Winter-Spring number of The Hippodrome in 1937. The article reviews works exhibited by Collett-Mason at the Pastel Society Exhibition held at the Royal Institute Galleries in London that year, and lists amongst his other sitters, the Duchess of Atholl, Sir Ernest Wills (a copy of which is available from the auction office).

* Tanner (Robin, 1904-1988). An archive of correspondence between the etcher Robin Tanner and Fay and Ray Cori, 1970s to 1980s, approximately 60 items, including numerous autograph manuscript letters and cards between Robin Tanner (plus a small number from his wife Heather Tanner) and Fay and Ray Cori, some with their original envelopes, the letters from Robin Tanner in his distinctive calligraphic handwriting and discussing numerous topics including his work, the natural world, calligraphy, health issues, the weather, exhibitions, etc: "Etching the N.W. Wiltshire scene is an obsession with me, & if I had to say why I should insist that apart from giving me some satisfaction my prime reason is to try to give pleasure to as many people as I can", "The cuckoo arrived yesterday, & blackcaps & willow warblers or chifchaffs [sic] are well established... I've contrived to finish needling my large "JULY" plate, & hope soon to bite it.", "This is a "Fine" version of Perry's Osmiroid Italic pen, & on the whole I like it better, though it gives less contrast between thick & thin strokes. All these cheap fountain pens are poor..." and "I'm afraid my news isn't good. Because the prostate operation was ineffective a further one was proposed... revealed a malignant growth in the bladder.", exhibition catalogues including: Robin Tanner Memorial Exhibition, Garton & Co, 1988, Robin Tanner Etchings, Wine Street Gallery, June 2003, An Exhibition of English Pastoral Etchings, 1974/75, the book Wiltshire Village, by Heather and Robin Tanner, Impact Books, and the pamphlet What I Believe, all in very good conditionQTY: (approx. 60)

* Educational card game. Elements of Conchology, on the Linnaean System: Arranged in Question and Answer, London: J. Mawe, and Ackermann, 1828, the complete pack of 39 engraved game cards, each with two questions, cards 1-36 with a hand-coloured image of a shell, cards 37-39 with an uncoloured diagram of the parts of a shell, dusty, scarce minor marks, card 13 with small dark ink? spot near left edge, versos plain white, extreme upper edges lightly foxed, each card 88 x 59 mm, with original accompanying 38pp. booklet, scarce light foxing, printed yellow wrappers, dust-soiled with some light spotting and minor edge-wear, small losses to spine, with a later plain laid paper outer wrapper, with mid-19th century ink manuscript ownership name Mrs Furneaux inside front cover (of outer wrapper), 16mo, contained together in original green paper-covered slipcase, rubbed with some wear to extremities, lacking inner sleeve, front panel with printed paper label (soiled)QTY: (1)NOTE:Smithsonian Libraries QL404 .E44 1823 (Joseph F. Cullman Library).Rare. We have only found the Smithsonian copy and one other - both incomplete. This book was printed by D. Herbert of Stoke Newington, and published by both John Mawe, 149 Strand, and Ackermann, Strand. The cards with their explanatory booklet seem to be based on the book published by John Mawe in 1823: The Linnaean system of Conchology.

Wells (H. G.) The Time Machine, 1st edition, 1st issue, London: William Heinemann, 1895, 1st issue with 16 pp. advertisements at rear (commencing with 'The Manxman', by Hall Caine and ending with 'The Naulahka', by Rudyard Kipling and Wolcott Balestier), front endpaper renewed, light spotting to rear endpaper, original buckram lettered in purple with sphinx design to upper cover and publisher's monogram to lower cover, spine re-titled in manuscript, small stain to spine and fading to 'Heinemann' at foot, 8vo QTY: (1)NOTE:Hammond B1.

Grenfell (Julian, 1888-1915). British soldier and poet of the First World War. Autograph Annotated Copy of The Ethics of Aristotle, by John Burnet, London: Methuen & Co., 1900, lii, 502 pp., plus 40-page publisher’s catalogue at rear, Greek text with English commentary including double-column footnotes, heavily annotated and underscored by Grenfell in pencil and sometimes ink, a few additional manuscript notes on paper slips using Balliol notepaper pasted in, one slip with a drawing of two horses, boldly signed and dated in grey watercolour to front pastedown, ‘Julian Grenfell, Balliol, 1908’, with signature repeated to upper cover in the same brush, upper hinges cracked with old paper adhesion remains to front free endpaper, untrimmed, original cloth, rubbed, lower cover slightly damp-marked, large 8voQTY: (1)NOTE:A rare autograph ‘manuscript’ by this short-lived soldier and war poet of World War I.Grenfell was educated at Eton and Balliol College, Oxford. He was commissioned into the British Army in 1907 and eventually attached to the 1st (Royal) Dragoons in 1910. Initially sent out to India, he then moved with his regiment to South Africa. By 1914 he was seeking help to leave the army and return to Britain, having decided to move to a career in politics. Whilst fighting on the Western Front, Grenfell became aware that lives were being regularly lost to German snipers. Using hunting skills he had developed at Panshanger, he taught his men how to crawl through No Man’s Land unseen, ‘steering by the stars’ in order to attack the German frontline trenches and gain intelligence. For this, he was awarded the Distinguished Service Order in the 1915 New Year Honours. On 13 May 1915, while Grenfell stood talking with a General Campbell, a shell landed nearby, injuring both men. Grenfell suffered extensive skull fracture, and underlying brain injury. He died from encephalitis on the afternoon of 26 May, aged just 27. The news of his death, precipitated the publication of his most famous poem ‘Into Battle’ in The Times. Today, Grenfell is most remembered for this poem, the closing lines of which read; ‘The thundering line of battle stands, And in the air Death moans and sings; But Day shall clasp him with strong hands, And Night shall fold him in soft wings.’ Winston Churchill chose other lines from the same poem for his collection of war speeches, Into Battle, the lines being set on the title-page of all copies from the sixth printing in April 1941. On 11 November 1985, Grenfell was among 16 Great War poets commemorated on a slate stone unveiled in Westminster Abbey's Poets' Corner.

Arts and Crafts binding. The Game of Chess. Done into English from the Latin of M. Vida & Printed by Richard Stanton Lambert: & Introduced by Richard C. Lambert, limited edition, London: Stanton Press, 1921, woodcut illustrations by Neil Lambert, typescript letter giving biographical information on the author tipped-in to front endpaper verso, manuscript presentation letter from Mary G. Gibson of Wolverhampton, dated December 1944, gifting the book to Mr Walker (a student of R. J. Emerson) in 'memory of R. J. Emerson' to front endpaper recto, vellum endpapers, all edges gilt, contemporary Arts and Crafts embossed polychrome binding, upper cover with two mounted knights flanking the central figures of Mary and Jesus within gilt panelling, 'A Shadowy War We Wage A Realist Strife' embossed at foot, the lower cover with chessboard design with King and Queen and two rooks, titled 'The Game of Chess', small marks too lower cover, 4to, binding size 27 x 21 cmQTY: (1)NOTE:Limited signed edition, 241/250 copies.Provenance: Robert Jackson Emerson (1878-1944), artist and teacher at the Wolverhampton School of Art. He attended the Leicester School of Arts and Crafts in the 1890s and was awarded medals for modelling and life drawing and in the National Competition exhibttions at South Kensington from 1901-06. He went on to work for metalworking firm Collins and Company, producing decorative metalwork designs before being appointed second master at the Municipal School of Art, Wolverhampton in 1910 until his retirement in 1942. Emerson painted a portrait of Mary Gibson, a fellow teacher of Emerson, who taught bookbinding, needlework and leatherwork at the School, and went on to exhibit oil paintings at the Royal Academy in the 1940s and 1950s. Her portrait was donated to the Wolverhampton Art Gallery in 1976.

* Valentine. A Regency illustrated love letter addressed to Mr G. Bennett, 1807, large bifolium, first page with hand-coloured oval engraving of a young lady seated on a bench beneath a tree playing a lute, a young gentleman looking on from behind the tree, within an oval border of manuscript letters (forming a puzzle) between flourishes, closely-written in pen & ink with romantic sentiments to blank margins, second page with manuscript 'Now Sir if you are inclined in the Sirkle[sic] Round My Name you Will find', p. 3 blank, p. 4 with name and address in ink 'Mr G. Bennett, Poulterer No 21 East Street Baker Street', an oval red ink stamp '12 o'clock 14 FE[B] 1807', with 'Refused R. Fowler' written across it in ink, and remains of red wax seal, folds to form an 'envelope', small piece missing to blank fore-edge of second leaf where seal broken, 25.5 x 20 cmQTY: (1)NOTE:A rare early Valentine which, curiously, appears never to have reached Mr Bennett, for whom it was intended, having been refused at the point of delivery by an R. Fowler; one can only imagine the possible reasons for this, as well as the repercussions which might have ensued.

Greenwood (James). The London Vocabulary, English and Latin: Put into a New Method, proper to acquaint the Learner with Things as well as pure Latin Words, Adorned with Twenty-six Pictures, For the Use of Schools. The Twenty-Second Edition, London: R. Baldwin, [1802], woodcut vignette to title, woodcut illustrations to text, contemporary manuscript drawings, some margins trimming with minor loss, light spotting, text block cracked between L1 and L2, contemporary sheep, rubbed and worn, 12mo, together with:Puzzlewell (Peter, pseudonym). A Choice Collection of Riddles, Charades, Rebusses, &c., London: Emlia Rider, Little-Britain, 1800, engraved frontispiece, some offsetting, near-contemporary ownership inscription to verso of front free endpaper, publisher's original blue boards with printed title label, bumped and damp-stained, 12mo[Bewick, John, illustrator]. A Curious Hieroglyphick Bible; or Select Passages in the Old and New Testaments, represented with Emblematical Figures, for the Amusement of the Youth..., 7th edition, London: T. Hodgson, 1789, engraved frontispiece, woodcut illustrations throughout, original paper-covered boards, rebacked, woodcut illustrations to upper and lower covers, 12mo, plus another copy, 10th edition, 1791Wakefield (Priscilla). Domestic Recreation; or Dialogues illustrative of Natural and Scientific Subjects..., London: Darton and Harvey, 1805, engraved frontispiece, 5 engraved plates, contemporary ownership inscription to front free endpaper, contemporary tree calf, rebacked, 12mo, and other similar juvenile antiquarian volumes including; The Blind Child, or Anecdotes of the Wyndham Family, written for the use of young people by a Lady, 2nd edition, London: E. Newbery, 1792, Dr Watts's Divine and Moral Songs for Children, 4th edition, London: J. Johnson, 1803, Divine Songs, attempted in Easy Language for the use of Children by I. Watts, Birmingham: Knott and Lloyd, 1804, etc. QTY: (approx. 55)

Hughes (Ted). Shakespeare and the Goddess of Complete Being, London: Faber and Faber, 1993, presentation copy inscribed by the author ' For John - forget ? downpour - remember Moortown rain? 1992 (1993!). I hope you'll come back in the severe dry years, all the best meanwhile Ted', original pictorial paper wrappers, lightly rubbed and creased, 8vo, together with:Autograph postcard signed, 'Ted Hughes', Court Green, North Tawton, Devon, 24th June 1993, to Mr Felstiner, concerning the local eateries around North Tawton and the payment of rent, 2 pages, oblong 8vo, plusManuscript Map of North Tawton by Ted Hughes, circa 1993, in red ink, detailing the location of his house in relation to other landmarks in the village, 1 page, horizontal and vertical folds, 8voQTY: (3)NOTE:Provenance: Possibly John Felstiner (1936-2017), American literary critic, translator, and poet.

Hughes (Ted). The Hawk in the Rain, 1st edition, London: Faber and Faber, 1957, 'The Hawk in the Rain' in full in blue ink to front free endpaper, each poem dated with a location in blue ink at foot of page, 'Wind' with neat correction adding 'black' so third line in second stanza reads 'Blade-light, luminous, black and emerald', pen and ink drawing of a serpent and unpublished poem in blue ink to rear free endpaper, original blue cloth, yellow lettering to spine, dust jacket, original promotional wraparound band, spine slightly faded with a few small nicks to head and tail, 8vo, contained in blue cloth drop-back box with red morocco spine label lettered in giltQTY: (1)NOTE:Sagar/Tabor A1a.An extensively inscribed copy of Hughes' first book, with manuscript poems to both endpapers (the latter unpublished), a pen and ink sketch of a serpent, a manuscript correction to the poem 'Wind' and each poem given a date and location, all in Hughes' hand.

* Owen (Will, 1869-1957). Beef Á La Mode, watercolour with pen and ink, depicting a disgruntled customer and an unhappy looking waiter, a bent knife on the floor, signed lower right, mounted with separate window below image showing manuscript text 'Customer:- "Waiter this steak is like leather take it away". Waiter:- Can't change it now, Sir, YOU'VE BENT IT!"', image size 36 x 25 cm, framed and glazed (53.5 x 40.5 cm) QTY: (1)

* Waugh (Evelyn, 1903-1966). A photographic portrait of Evelyn Waugh in front of Combe Florey House taken by Mark Gerson, circa 1962 (290 x 250 mm) with 2 postcards initialled by Waugh, the first giving directions to his house and the second questioning the validity of rumours regarding Vile Bodies being made into a film, all 3 items mounted on one sheet with manuscript captions beneath, framed and glazed QTY: (1)

* Valentine. A Regency illustrated love letter addressed to Miss S.[arah] Corney, February 14th 1801, large bifolium, first page with hand-coloured oval allegorical stipple engraving of Hope beside an anchor and sailing ship (published John Fairburn, 1797), surrounded by manuscript, within a pierced lace pattern border embellished with watercolour rosebuds, with further manuscript above and below, pp. 2-3 blank, p. 4 with name, address, and date in ink 'Miss S. Corney Little Guilford Street Queen Street Southwark 8 oclock Feby 14th 1801', an oval red ink stamp '10 o'clock FE[B] 14 1801', an indistinct oval black ink stamp, and remains of red wax seal, folds to form an 'envelope', lightly toned in places, small hole and tears to blank margin of second leaf where seal broken (neatly strengthened with archive tape on recto), 25 x 20.5 cmQTY: (1)NOTE:An early Valentine, addressed to 'Sarah', with various somewhat lovelorn writings such as 'My love is hope, yet I despair/Happy the man that calls you his own', and 'I trust this will arrive just in time/it is from one I'm sure is not expected, and begs you will take him as your valentine'.

* Wilson (Patten, 1868-1928). Can I Forget ' Dim Through the Years, 1899, pen and ink on board, illustration signed to lower left, manuscript verse attributed to Rose Champion De Crespigny to lower margin, flourishes to upper and side margins, board laid onto mount, small waterstain to right lower edge, small mark to arm of chair, 21.5 x 15.2 cm mount aperture, mounted (38.6 x 32.5 cm), together withCruikshank (George, active 1842-1910). A Merry Christmas, watercolour with pen and ink, depicting a scene with a woman standing on a chair hanging green foliage on her wall, a gentleman resting against a large cabinet, miseltoe in his hand, A Merry Christmas in blue ink to upper, signed lower right, 14 x 9.5 cm mount aperture, framed and glazed (31.5 x 25.5 cm), plus another by Cruikshank depicting an interior scene, and Reid (Stephen, 1873-1948). An Old English Toast, pen and ink, depicting an older gentleman holding a large tankard, fingers resting on a table, Health! "Eres to Ye" manuscript to lower margin, SR monogram to lower margin, 13 x 8 cm mount aperture, framed and glazed (22.5 x 16.5 cm)QTY: (4)

Jefferies (Richard). World's End. A Story in Three Books, 3 volumes, 1st edition, London: Tinsley Brothers, 1877, advertisement leaf at end of volume I, stitching weak in volume I, contents detaching, occasional light spotting, armorial bookplates of Charles R. C. Hibbert, manuscript shelf number, original decorative cloth gilt, spines a little toned and rubbed at ends and edges, ink stain at head of volume I upper cover, John Day, Grosvenor Square bookseller circular labels pasted to upper covers, slight lean, 8vo QTY: (3)NOTE:Provenance: From the library of the author Henry Williamson.

Waugh (Evelyn). Labels. A Mediterranean Journal, London: Duckworth, 1930, monochrome frontispiece after the author, double-page route map, half-tone illustrations, occasional light spotting, baggage label endpapers, top edge gilt, original blue cloth, spine lettered in gilt (spine very slightly faded), 8voQTY: (1)NOTE:Limited edition, 68/110 copies, signed by the author, with a folding leaf of the original manuscript bound-in (38 lines, written to both sides with extensive corrections).

Heaney (Seamus). January God, Belfast: Arts Council of N. Ireland, 1972?, printed broadside, illustrated by T. P. Flanagan, 75 x 55 cm mount aperture, a few light creases and small marks, framed and glazedQTY: (1)NOTE:Presentation copy, inscribed at foot 'For Roy Davids, At home in Dublin, Seamus Heaney, 23 April 1981'. Roy Davids (1943-2017), former head of Sotheby's book department and a manuscript and historical documents collector.

* Spence (Philip, 1873-1945). 'Little Billee' [cover-title], 31 August 1903, 6 original watercolours with pen and ink outlining and traces of pencil, all imagining scenes from William Makepeace Thackeray's poem 'Little Billee', manuscript captions from the poem to versos, manuscript slips with author's name and date mounted to versos of final watercolour and rear free endpaper, text block loose with one stitch attached, a few spots, contemporary blue quarter cloth, buckram covers with 'Little Billee' hand-painted to front, 8vo (17.9 x 11.5 cm)QTY: (1)

* Murdoch (Iris, 1919-1999). Autograph Essay Signed ‘Iris Murdoch’, no place or date, c. 1975, being the author's piece for Literary Guild Bulletin, sent to Book Club Associates, in blue ink on ruled foolscap paper with file holes to left margin, beginning, ‘I do not resemble my hero’, Hilary Burde, in temperament or in history, but I do share with him his feeling about words and languages and grammar, and perhaps this interest will somehow far back in the genesis of the book. I love grammar, all the mechanics and the mysteries of language structure, and not just because I am a writer. I would like to have been (also) a comparative philologist and polyglot. And I agree with Hilary’s judgment that studying a language is not only an academic but a moral education…’, a total of 39 lines ending at the top of page 2, marginal split and top file hole affecting final word of first line of verso, a few manuscript corrections in Murdoch’s hand, note in another hand at head of first page, 4toQTY: (1)NOTE:This essay relates to Iris Murdoch’s 17th novel, A Word Child, first published in 1975 by Chatto and Windus. It charts the trials and tribulations of the title character, ‘The Word Child’, Hilarly Burde as he attempts to recover his soul from the misery of his troubled past. The novel explores the possibility and meaning of redemption, the nature of human memory and the possibility of love for the tarnished soul.

* Wain (Louis, 1860-1939). Profile of a cat’s head with bow-tie, no date, c.1911, pen and ink on a manilla envelope, signed ‘Louis Wain’ beneath, the unused envelope somewhat browned and creased, torn with loss at foot, well away from the drawing and signature, 220 x 100 mmQTY: (1)NOTE:An accompanying manuscript provenance note indicates that this was obtained by James Thomas Benjamin when he was employed by George Newnes limited in the Strand, London, c. 1911. ‘One day when I was about five years old, Louis Wain called at my father’s office on business. During the course of conversation my father asked Louis Wain if he would kindly draw a cat for his young son (referring to me [Ernest Ainsworth Benjamin]) and he obligingly drew it on a manilla envelope as you can see. This is the original and it has been in my possession ever since’, signed by Ernest Benjamin and dated 2 March 1989.

15th.C. Illuminated Leaf From Bruges Book Of Hours / Description: Leaf from a mid 15th century's Book of Hours of Bruges. 18-line text in one column in Gothic "Textura" and gold-heightened lettrines and pen work (95 x 70/165 x 120mm). Nine illuminated initials in gold, one larger one on red and bleu field. Several 'hanging beard' decorations in black and red. Mid 15th century / Dimensions: 16,50 x 12,00 cm / Condition: The vellum sheet is in very good condition. It has occasional some surface dirt in the margins. / Literature: / Medium: Manuscript /Circa: Ca. 1440-1460

Claes De Grave -Balaam on his donkey - Antwerp, 1516 / Description: Post Incunabula sheet. Woodcut showing Balaam beating his Donkey. This Woodcut published in Antwerp bij Claes De Grave in 1516 is directly based on the woodcut sequence used in the first bible in Low German (Niederdeutsch), the Bible of Cologne: [Heinrich Quentell, c. 1478]. Most of the woodcut compositions of Quentell's Bible correspond in their turn closely to a manuscript bible produced in Cologne circa 1460, which may in turn reflect a common source (Info from: Bridwell Library Special Collections, Dallas).---------- The Bibel int Corte is known as one of the earliest Dutch-language bible editions. It was contestated for his fantasy of content. In 1518 The Franciscan Jan Elen wrote: Laet achter duytsche bibelen die onvolcomelic ende ooc valschelic sijn overgheset uten latine, ende historien ende legenden die dicwils niet waer en sijn, ende ander materien die u niet noot en sijn te weten, mer dicwils scadelic sijn. ---------- Early and important woodcut in history. Made before 1513 (first edition). 100% match with the 1516 Edition (See Library of Congess example) / Dimensions: 9,50 x 13,00 cm / Condition: Condition is good with small restoration of bottom right corner of the sheet. Size of the sheet 22,30 x 16,40 cm / Literature: De Bibel int corte ghetranslateert. Wten laine ende walsche metten figueren.[Antwerpen, Gheprent bi Claes de Graue, 1516] Rosenwald Collection (Library of Congress) Grave, Claes De, Date: 1516 (Image of page 111) ------------- As Balaam and his donkey travelled along a road, an angel of the Lord blocked the path of the donkey. When Balaam beat the donkey, God miraculously caused it to talk to its owner. Finally, Balaam saw the angel and realized what had happened. He ended up blessing the Israelites instead of cursing them. / Medium: Woodcut /Circa: 1510-1516

Claes De Grave - David playing the Harp - Antwerp, 1516 / Description: Post Incunabula sheet. Woodcut showing David bringing the Ark into Zion; a procession lead by King David playing the harp; in foreground two horses drawing a cart with the Ark. This Woodcut published in Antwerp bij Claes De Grave in 1516 is directly based on the woodcut sequence used in the first bible in Low German (Niederdeutsch), the Bible of Cologne: [Heinrich Quentell, c. 1478]. Most of the woodcut compositions of Quentell's Bible correspond in their turn closely to a manuscript bible produced in Cologne circa 1460, which may in turn reflect a common source (Info from: Bridwell Library Special Collections, Dallas).---------- The Bibel int Corte (Thez Bible in Short) is known as one of the earliest Dutch-language bible editions. It was contestated for it's fantasy of content. In 1518 The Franciscan Jan Elen wrote: Laet achter duytsche bibelen die onvolcomelic ende ooc valschelic sijn overgheset uten latine, ende historien ende legenden die dicwils niet waer en sijn, ende ander materien die u niet noot en sijn te weten, mer dicwils scadelic sijn. ---------- Early and important woodcut in line of history of woodcut art. Woodcut made before 1513 (first edition). 100% match with the 1516 edition (See Library of Congess example) / Dimensions: 9,50 x 13,00 cm / Condition: Condition is good with added margin at right. Size of the sheet 22,30 x 16,40 cm / Literature: De Bibel int corte ghetranslateert. Wten laine ende walsche metten figueren.[Antwerpen, Gheprent bi Claes de Graue, 1516] Rosenwald Collection (Library of Congress) Grave, Claes De, Date: 1516 (Image of page 194) / Medium: Woodcut /Circa: 1510-1516

French Miniature 15thC. - King David / Description: Paris workshop end 15th early 16th century. Miniature of King David in prayer in an oval. Illuminated initials in gold on bleu and red fields. This work dates from the transition period between manuscript and printed text. Gilles and Germain Hardouyn, for instance, active in Paris from 1491 to 1541, specialized in hybrid printed Horae that were hand-painted in imitation of illuminated manuscripts. Paris was the hub of production of this printed Horea, which began in the 1480s. / Dimensions: 14,00 x 7,50 cm / Condition: The vellum sheet is fresh and in good condition. The painted miniature is in good condition with little or no wear. / Literature: / Medium: Miniature Painting /Circa: 1490-1530

15th.C. Illuminated Vellum Leaf From Book Of Hours / Description: Illuminated leaf from a book of hours by a Paris workshop. Twelve illuminated initials in gold on bleu and red fields. Several decorated bars to close the text line. Manuscript on vellum. Ca. 1470 / Dimensions: 15,50 x 10,50 cm / Condition: The manuscript and illuminations are in very good condition, bright and with no wear at all. The vellum sheet is in good condition with some thumbing at the lower corner / Literature: / Medium: Manuscript /Circa: Ca. 1480

Manuscript on parchment - Circa 1280 / Description: 13th century's parchment sheet from a Parisian Bible or Book of Hours, ca. 1280. Handwritten 41-line text in two columns rubricates and vertical ornaments in red and blue, wide margins all around with occasional additional boxed text in the margin, alignments in graphite visible . Long decorated beards. / Dimensions: 29,90 x 20,40 cm / Condition: The manuscript is on a soft thin lambskin parchment. Handwriting and decoration in incredibly good condition. Excellent example of high medieval manuscript quality. / Literature: / Medium: Handwriting /Circa: Circa 1280

Master of the Echevinage of Rouen - Eight Miniatures in a Shrine - C.1457-80 / Description: Mounted in a 17th century's wooden shrine, folding like a triptich, are eight high quality leaves from an illuminated manuscript on vellum, each with a large miniature (9,50 x 6,00 cm) and fully decorated borders, historiated with small figures, animals, and grotesques. All miniatures are from the same manuscript and by the same artist: the Master of the Echevinage de Rouen (Act. 1457-1480). The manuscript was made for a couple with the initials A and M. These initials united by a piece of cloth are found in the bottom left corner of the last miniature, maybe referring to it's purpose as a wedding gift. The sequence of the miniatures includes seven miniatures from the Hours of the Virgin and one miniature (Pentecost) for the Hours of the Holy Spirit. They are an excellent example of the high quality of illumination made in the city of Rouen. Following the end of the English occupation of Normandy in1453 at the end of the Hundred Years' War, a new circle of clients in Rouen lead to a high demand, including Books of Hours, historical, and juridical texts. The best illumination of this period is attributed to the Master of the Échevinage de Rouen, named after a group of manuscripts made for the échevins, the aldermen of Rouen. one of the first public authorities in France to assemble a public library. The Master is thought to have managed an efficient workshop and to have hired assistants who were able to paint in his style. This artist was the most successful Norman illuminator of the third quarter of the 15th century, while his style and repertoire were continued by the next generation of Rouen artists. Based on the high quality of the borders, particularly noticeable in the white arabesques, the work can be attributed to the Master himself, rather than to a member of his workshop. His own work has the typical high quality borders like we find here. All together a very nice set, interesting in terms of use. / Dimensions: 17,00 x 12,00 cm (each) / Condition: The pages from the 15th century are glued on their frame, yellowed, surface dirt, degeneration of ink, especially the green colours. The shrine of the 17th century is gilded and with red arabesque decorations at the inside, it's general condition is good with intact metal hinges, closing well, occasional defect, missing small fragments of wood. To be considered as a rare an interesting, valuable piece of antiques. / Literature: The illuminator ,the Master of the Rouen Échevinage (also known as the Master of the Geneva Latini), named for the splendid manuscripts he painted for the Bibliothèque des Echevins in Rouen, the public library assembled by the aldermen of the city. The Master was the dominant illuminator in Rouen after the departure of the English in 1449, when the city became a flourishing center of manuscript production: his career began c.1460 and continued into the 1480s (when he illuminated a manuscripfor t Pierre de Choisnet, Le Livre des trois âges de l'homme, Paris, BnF, Smith-Lesouëf 70). / Medium: Miniatures on Vellum /Circa: 1457-1480

A Crimean War manuscript letter dated 1855 from Lt Col Wilkie, 10th Hussars, at "Camp near Balakalva", requesting "to transfer 20 horses to other Light Cavalry Regiments", together with a similar letter and a "Memo for Colonels of Regiments" from Lt Gen Hon Sir J G Scarlett, Cavalry Division Commander directing "Officers Commanding Regiments will be good enough to send direct to the Military Secretary the names of those Officers who were wounded with a short statement of the nature of the wound and the state of health of the Patient in order that it may be telegraphed home to their friends."

[ Autograph ] A George II autograph manuscript dated 1756 being an order from the Lords Commanders of the Admiralty to one William Adair, Paymaster of the Marines, directing a payment for expenses incurred in "raising recruits, furnishing them with necessaries, & subsisting them", bearing the signature of George Anson, 1st Baron Anson, as First Lord of the Admiralty

Le Keux (John, engraver). Memorials of Cambridge, a series of views of the colleges & other public buildings of the University & Town of Cambridge, 2 volumes, London: Tilt & Bogue, 1841-42, uncoloured engraved frontispieces & vignette titles, numerous engraved plates with wood engravings to text throughout, slight spotting, marbled endpapers with the bookplate of James O'Byrne to the front pastedowns, contemporary half morocco gilt, rubbed, 8vo, together with A Hand-Book for Visitors to Oxford, Oxford: John Henry and James Parker, 1858, engraved frontispiece, vignette title and 28 uncoloured engraved plates with wood engravings to text throughout, folding city map bound at rear, upper hinge cracked, bookplate of Rev. W. A. Salman to the front pastedown, manuscript presentation inscription to the first front blank, all edges gilt, contemporary red morocco gilt, some fading and wear, 8vo, with Deck (Norris). A Hand-Book for Visitors to Cambridge, Cambridge: William Metcalfe and London: Bell & Dandy, 1862, additional half-title, engraved frontispiece, lithographic map of Cambridge printed in green and black, 7 uncoloured engraved plates with wood engravings to text throughout, index bound at rear, bookplate of B. M. Cooke to the front pastedown, contemporary manuscript ownership signature to the front endpaper, publisher's purple cloth gilt, spine and parts of the boards faded, 8vo, plus Mundy & Slatter (publishers). The Oxford University and City Guide on a New Plan..., to which is added a Guide to Blenheim, Nuneham and the Newly Discovered Roman Villa near Northleigh, 3rd edition, circa 1820, frontispiece of a folding engraved plan of the City of Oxford, additional vignette half-title, five uncoloured engraved plates, text block uncut, modern half calf gilt, 8voQTY: (5)

Britton (John). Picturesque Antiquities of the English Cities. Illustrated by a series of engravings of Antient Buildings, Street Scenery, etc. with Historical and Descriptive Accounts of each subject, London: Longman, Rees, Orme, Green, the Author and J. Le Keux, 1830, Large Paper copy, title with engraved vignette on India paper, 60 engraved and etched plates on India paper (all but one in two states, comprising 119 plates in total), several engraved vignette illustrations to text on India paper, some spotting, front free endpaper with armorial bookplate of Henry Martin Gibbs of Barrow Court, Flax-Bouton, Somerset, dated 1891, verso of front free endpaper with manuscript annotation 'June 1885. Bought by William George's son of Park St., Bristol, at the sale of L.L.Hartley's library, £8-10/-', all edges gilt, contemporary dark green morocco with elaborate gilt decoration to spine and wide decorative gilt border to boards, gilt armorial of Henry Martin Gibbs embossed to centre of upper board, joints slightly cracked, upper joint with short split at foot of spine, large folio (46 x 32.5 cm)QTY: (1)NOTE:Henry Martin Gibbs (1850-1928), of Barrow Court, Flax Bourton, Somerset, was the fourth son of William Gibbs, of Tyntesfield and Charleton, Somerset, and of Pytte in Clyst St George, Devon, a Merchant of London, and Matilda Blanche, third and youngest daughter of the late Sir Thomas Crawley Boevey, 3rd Baronet, of Flanley Abbey, Gloucestershire. He was educated at Lancing College and Clare College, Cambridge, where he was admitted a Pensioner 18 February 1871, matriculated that year but did not take a degree. He was Lord of the Manor of Barrow Gurney, a Justice of the Peace, and High Sheriff of Somerset in 1897. He married, 22 June 1882, Emily Anna, fifth daughter of the Venerable William Bruere Otter, Archdeacon of Lewes.