33307 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Leaf from a choirbook (Gradual), with large initial 'R', illuminated manuscript on parchment [Italy, fourteenth century]

A George I carved and gilt-gesso centre table, circa 1720, in the manner of James Moore, the rectangular top with a central panel decorated with a sunflower amongst acanthus and further flowers within a scrolling acanthus and strapwork border and leafy moulded edge, the conforming frieze centred on each side by pierced and carved ornament, the hipped cabriole legs on square pad feet, the underside bearing a the trade label of 'LENYGON & MORANT, Ltd., 31, OLD BURLINGTON STREET, LONDON, W.1.' with the manuscript '23/2/39 Property of HRH The Duke of Kent KG, a carved and gilt gesso centre table (one of a pair); together with another trade label of 'FRANK PARTRIDGE & SONS LTD., WORKS OF ART, 26 KING STREET, St James's SW and at New York', Also bearing the chalk number '3759'. n74cm high, 111cm wide, 59cm deep, re-gilt and some re-gessoing, the angle brackets to the legs replaced Provenance: Property of HRH Prince George, Duke of Kent KG Lenygon and Morant, Ltd. Frank Partridge & Sons Ltd. Prince George, Duke of Kent, KG, KT, GCMG, GCVO According to the Lenygon and Morrant paper label on the underside, the present lot was the property of Prince George, Duke of Kent, the fourth son of King George V and Queen Mary and the younger brother of Edward VIII and George VI. Prince George served in the Royal Navy in the 1920s and then briefly as a civil servant. He became Duke of Kent in 1934 following his marriage to Princess Marina of Greece and Denmark. Like his mother, Queen Mary, Prince George had a keen eye for period furniture and decorative arts, building an impressive collection to furnish his home. In the late 1930s he served as an RAF officer, but was killed in a military air-crash on 25 August 1942. The property of Prince George and his wife Princess Marina was sold at Christie's in 2009 , however the present lot was sold with its counterpart earlier in the 1930s.The Table Elements in the design of the present table have marked affinities with documented examples of early 18th century giltwood furniture by the Royal cabinet-maker James Moore. In particular the strapwork decorated top relate to tables in the Royal collection recorded at Hampton Court Palace, and Kensington Palace, both by the same maker. A possible influence on Moore and his predecessors' designs was a French engraving for a side table by Pierre Le Pautre, published in his Lievre de tables qui sont dans les apartmments du Roy, c. 1700, pl. 4, which in common with the offered lot features a diaper trellis pattern to part of its frieze (see Adam Bowett, Early Georgian Furniture, 1715-1740, 2009, pp. 300-201, pls. 5:1-5:3). The unusual broken cabriole form to the legs is also seen in a set of giltwood chairs at Blenheim, a pair of tables formerly in the collection of the Duke of Newcastle, both firmly attributed to James Moore, and a pair of giltwood torcheres at Treasurer's House, York possibly commissioned by 1st Duke of Marlborough for Blenheim Palace from James Moore Snr. (1670-1726). Lenygon and Morant Francis Lenygon opened Lenygon & Co., in 1904, and in 1909 merged with Morant & Co., to become Lenygon & Morant, with premises at 31 Old Burlington Street. Francis published his seminal book 'Decoration and Furniture of English Mansions during the Seventeenth and Eighteenth Centuries' in 1909 and featured a series of illustrations showing several pieces acquired by the firm in situ at their Burlington Street studio. He made a name for himself by acquiring complete period rooms, including a Dutch Painted Room from Groningen, Holland and others, which were described as 'the most interesting and important complete room[s] - both historically and artistically - which has ever been exhibited (Lenygon & Morant, Description of the Painted Room in the Collection of Messrs Lenygon & Co. Ltd, 1910). The firm received commissions from many prominent patrons, including industrialists, aristocrats and the Royal family. The firm held royal warrants under four successive kings: Edward VII, George V, Edward VIII, and George VI.

Circle of Cornelis Jonson Van Ceulen Portrait of Sir Edward Dering (1598-1644), half-length, in a gold and white striped doublet Oil on canvas Painted with coat-of-arms upper left 79 x 63.5cm (31 x 25 in.) Sir Edward Dering, 1st Baronet (1598-1644) of Surrenden Dering was an influential, yet controversial English antiquary and politician during the 17th century. His antiquarian interests led him to amass a great library; his name is still associated with manuscripts such as the Dering Roll, an important 13th century Roll of arms, believed to be the earliest surviving English roll of arms and the Dering Manuscript of Henry IV, Part 1, the earliest surviving manuscript of a play by William Shakespeare.

A New Zealand Totara Knot and Hinan wood occasional table, by Johan Marti Levien, second quarter 19th century, the rounded rectangular tilt-top above a faceted baluster support with a foliate carved collar, on a concave-sided platform with scroll feet and castors, 71cm high, 61cm wide 48cm deep, the top of the block bearing a manuscript label 'this wood imported from Wellington - New Zealand - the native names are Totara with Hinan border and manufactured G.D.M Levene, New Zealand House, New Broad St .... London Johan Martin Levien (1811-1871) was born in Barth, a sea-port in Western Pomerania, Prussia where he undertook his cabinet-making apprenticeship, becoming a Master in 1831. He followed this with an extensive period of travel, visiting Norway, Denmark, Sweden, Russia and Hamburg. During his time in Europe he was not only able apply refine his skills but he also attended various schools of drawing and design prior to setting sail for Pernambuco in Brazil in 1837 to set up his own business. Unfortunately the climate did not suit his health, causing him to leave for Rio de Janeiro c. 1840. Here Levien devoted himself to sourcing exotic timber specimens amongst the interior forests. His appetite for collecting rare wood samples lead him to Wellington, New Zealand later the same year where he believed unknown timbers awaited his discovery. These were very early days for settlers which necessitated Levien building his own house with the assistance of local Maoris - a primitive rush construction secured by poles in ground. Once settled he began exploring the hinterland forests to identify suitable cabinet timbers, drawing on the experience he had gained in Brazil. Here he selected a range of native timbers including Hinau, Kauri, Mai, Matai, Rata, Rimu and Totara. This was heavy work as the newly hewn trees had to be carried back through the forest to the base camp before they could be sawn into planks. Some of the trees were over a hundred feet tall with boughs up to twelve feet in diameter. When Levien arrived in Wellington he could neither speak English or Maori but quickly assimilated both languages and built up a rapport with the native tribesmen. He built a beachside store and workshop on what is now known as Lambton Quay and shortly after married an English woman of high social standing. By 1843 he had built a flourishing business as a contemporary report recorded: 'Mr Levien...has been industriously employed in proving the value of our forests, by working native woods in all descriptions of furniture. His work is beautifully executed, and his prices moderate'. The report went on to state 'We are glad to find a considerable quantity of furniture wood being shipped by all the vessels now proceeding from this port to England. Mr Levien...proceeds in the brig Victoria to London, with a view of establishing a warehouse for the manufacture and sale of New Zealand wood ...Mr Levien takes with him a large quantity of choice specimens of our woods, carefully selected by himself, and well seasoned before embarked...'.However Levien was never to return to New Zealand, possibly for a combination of reasons including the unrest in that country arising over land rights and his rapid establishment of a business premises in London. This was located at the New Zealand Company, Broad Street and a letter from London, dated 17 October 1844 testifies to his success. It noted that 'Levien has an order from the Baron of Rothschild to fit up an entire room with totara and hinau; old Mr.Rothschild is about to do the same thing, and Gillow, Doubiggen, and some others of the cabinet-makers have purchased good quantities of his woods'. On 5 August 1846, Levien received a Royal Appointment, recorded in London Sun of 22 August under the heading MR. LEVIEN. HIS SPLENDID WORKMANSHIP FOR THE QUEEN, AND THE FURNITURE WOODS FROM NEW ZEALAND: 'We are happy to announce that her Majesty has been pleased to confer upon Mr Levien the appointment of cabinet-maker to her Majesty, in token of the very elegant specimens of workmanship made by him from the woods of New Zealand. Her Majesty the Queen was the first to patronise him. And he has secured great favour with her Majesty by his workmanship, his skill, and his woods'.One of Levien's most important early patrons was the Prussian Chevalier Bunson (later Baron Bunsen) who introduced him Frederick William IV, King of Prussia. In 1848 the King presented Levien with a gold medal, 'awarded by the Prussian Court to persons of distinguished merits in the arts' and conferred on him a Royal Appointment. This lead to a series of high profile commissions as recorded in the Morning Post 'Amongst the English nobility and gentry, whose patronage he is experiencing, we may also mention Lord Ingestre, Lord Ilchester, Baron Rothschild, John Abel Smith, Stewart Marjoribanks, G. Tomline...' Later in 1848 Levien married again to Mary Ann Willson and moved to new premises at 10 Davies Street, Grosvenor Square. Throughout the 1840s Levien succeeded in swimming against the tide of conservatism as English furniture was almost exclusively manufactured out of mahogany, walnut, rosewood and oak at this time. That Levien had tested each of his woods brought him public confidence and convinced his clientele of the suitability of his chosen New Zealand timbers. He recommended tawhero (Weinnannia sylvicola), for instance, as a substitute for mahogany, and suggested specific purposes for other particular veneers. However, above all Totara Knot was the most easily distinguishable. It was described in a contemporary periodical as 'of a colour something between bird maple and the walnut, bears a high polish, and displays an exquisite grain in fine and various lines of softening tint', and its durability is manifested by the fine condition of pieces of furniture made from it in existence today'.Levien continued to successfully promote his business throughout the following decades and this included his participation in a series of international exhibitions including The Great Exhibition, London 1851; The Dublin Exhibition, 1853, The Paris Exhibition, 1855 (where he received a medal) and The International Exhibition, London 1862. Few pieces of his furniture bear a label or signature, although many pieces are known through exhibition catalogue engravings and other puplications including 'Art Furniture'- Woods of New Zealand, and their adaptability to art furniture, James S. Virtue, London, 1861. Levien's work is recorded in the English Royal collection, and exhibited at The Museum of New Zealand. He continued trading until 1868 when he sold the business and died three years later in 1871. His Totara Knot sideboard, exhibited at The Great Exhibition 1851 sold for £380,000 at Sotheby's in 1998, one of the highest auction prices ever achieved for an item of 19th century furniture.

Deo Benedicente Instructio - hand written Latin manuscript, 17th / 18th century, ex Libris - Nyary Pal, board ends

Railway Disaster ephemera including Witham 1st September 1905, accident newspapers and cuttings, handwritten manuscript of the report of the accident. Also photographs and handwritten report of the train accident on 8th November 1865 GER near Darsham station, etc.

CORNWALL: CAREW, Richard of Antonie, Esquire: The Survey of Cornwall. Printed by S.S. for Iohn Iaggard, 1602, 1st. edn. PP: (extra page: Coat of Arms), (x)title, Dedication, to reader, Prosopopeia, Table of first book, 159 Leaves, (vi)corrections and table of the second book. Bound in cont. reverse calf with later spine. Title page torn and with crude repairs; top corners of first 3 leaves with small loss; edges of last few leaves frayed with small loss; few manuscript notes in margins and two page manuscript note to rear blank endpapers. Very scarce

MANUSCRIPT of a SINGAPORE Journal (continued), written by J. R. Perceval, 1936-1937. C250 handwritten pages covering a journey from Bombay to Singapore, stay at Singapore (including the opening of a new airport by the Governor, June 20, 1937), and travel out of Singapore- China sea, Hong Kong, etc. July 1937. Half leather binding.

Three wax manuscript seals, 18th century, the seal of Grenada, 'Hi Tibu Erunt Artis' ('These will be your arts') with sugar mill, the seal of the Bahamas, 'Expulsis, Piratis, Restituta, Commercia' ('pirates expelled, commerce restored') with a three-masted sailing ship, the seal of New Brunswick, 'Spem Reduxit' ('Hope restored'|) with a three-masted sailing ship and pine trees, each approximately 11cm diameter, three in one modern frame

'THE BOOK OF KELLS' reproduction from the manuscript in Trinity College Dublin, published by Thames and Hudson 1988, hardback with hard slip cover, together with 'Old London Illustrated, London in the XVITH Century' drawings by Brewer H W published by The Builder 1922

A pair of 19th century Persian manuscript pagesEach painted with Hunting Scenes and calligraphy, mounted in a common glazed frame; together with another 19th century Persian painted manuscript page, framed and glazed. The latter 17.5 x 28.5 cm (excluding frame and mount). (2) CONDITION REPORTS: one slightly torn with paint loss, some woodworm holes, some crazing/cockling/foxing

NO RESERVE Italy.- Rome.- Sickler (Friedrich Carl Ludwig) Plan Topographique de la Campagne de Rome, map of the environs of Rome with north oriented to the west, engraving, 570 x 890 mm. (22 1/2 x 35 in), dissected and laid onto linen, some minor surface dirt, folding into original marbled slipcase with printer's label to upper cover, later label affixed on top, 8vo, Rome, Venance Monaldini Libraire, 1832; with Sickler's Pantogramma des Environs de Rome, a panoramic view or Rome, with text key identifying churches, monuments, and locations of interest, engraving on 3 sheets, total approx. 220 x 1600 mm. (8 3/4 x 63 in), folds, with some handling creases, folding alongside map into slipcase, c. 1821; together with Vincenzo Monaldini's Vestigie di Roma Antica, ancient Rome surrounded by plans of classical buildings on fragments of masonry, engraved plan by Acquaroni, 630 x 840mm., dissected and linen-backed, folding into contemporary marbled slipcase, publisher's printed label pasted on with manuscript title and price in French, 8vo, Rome, 1819 (3).

* Samplers. A darning sampler by Judith Rist, late 18th/early 19th century, hand-stitched on linen with eight even armed crosses, two 'L' shapes, and a wide upper border of chequers, all showing a variety of darning stitches, worked in green, beige, blue, yellow, and cream, crosses to lower left and lower right incorporating initials 'C' and 'W' respectively, maker's name 'Judith Rist' in cross stitch to lower margin, tent stitch border, slightly toned to edges, 28.5 x 23.5 cm (11.25 x 9.25 in), mid 19th century gilt moulded frame glazed (1 in edge piece missing), together with: A darning sampler by A.G. Roos, 1872, hand-stitched on fine linen with four even armed crosses and four star motifs, surrounded by initials in clustered eyelet stitches, enclosing a square central panel bordered with darning stitches, with a pair of parrots in cross stitch in centre, with initials 'J R' and 'A R' in eyelet stitch above and below, and other scattered initials in cross stitch, worked in various colours, including blue, green, red, pink, yellow, brown, maker's name 'A G Roos' stitched in red cross stitch below central panel, generally toned, 44 x 52 cm (17.5 x 20.5 in), framed, plus: a sampler by Elizabeth Oldfield, 1822, worked in cross stitch on coarse linen with a poem entitled 'Peace' in black and brown enclosed by a floral border in colours, slightly toned, 41.5 x 42.5 cm (16.25 x 16.75 in), stitch-mounted, framed and glazed; seven specimens of handiwork by Alice Jackson, 1892, including a gathered garment, cross stitch, a patch, and knitting, some spotting and marks, all mounted together with a manuscript label 'Alice Jackson Standard V', aperture size 42 x 18.5 cm (16.5 x 7.25 in), framed and glazed; and a late 18th/early 19th century embroidery picture worked in coloured silks on linen, of a basket of flowers, including carnations, tiger lilies, roses, pansies, bluebells, tulips, and a moth, incorporating initials 'A H' to lower portion of picture, some staining, 44.5 x 35 cm (17.25 x 13.75 in), framed and glazed (Qty: 5)NOTESLess common than alphabet or pictorial samplers, darning samplers are sought after for the intricacy of the work.

* Shawls. A large silk damask crinoline shawl, circa 1860s, fine silk shawl with wide border in bright jewel colours featuring large and small boteh motifs and floral decoration, on a figured cream ground, knotted silk fringing to short edges (one small break), some minor faint discolouration in one or two places, dimensions (excluding fringe) 345.5 x 176.5 cm (136 x 69.5 in), together with: A silk damask shawl, circa 1860s, fine silk shawl with scattered large floral motifs and border, in pink, green, and yellow, on a figured cream ground, knotted silk fringing all round, a few minor stains, some wear (mostly to edges and fringing), 141 x 150 cm (55.5 x 59 in), A large Chinese shawl, late 19th century, cream silk shawl, with large embroidered motifs at two opposing corners, depicting an exotic bird amongst flowers and blossoming branches, wide cream silk macramé edging, occasional small marks and tiny holes, dimensions excluding edging 152 x 152 cm (60 x 60 in), with two accompanying manuscript letters of provenance dated 1942 stating that the shawl was given by Queen Victoria to a lady-in-waiting, and 6 other shawls, early 20th century, including an Art Deco gold lamé orange shawl, a shawl with Egyptian motifs, and two embroidered shawls (one with striking vegetal decoration), various sizes and condition (Qty: 9)

* Curtains. A pair of scarlet damask curtains, 19th century, two hand-stitched damask curtains, possibly bed curtains, each composed of 3 pieced drops and close-gathered with two rows of stitching at top edges, matching bullion fringe to leading edges, some light marks, each with one small hole towards bottom hem, drop 282 cm (111 in), width excluding fringe 250 cm (98.5 in), together with another large red curtain, machine and hand-stitched heavy damask with large pattern (fabric probably earlier than production), composed of two pieced drops, tufted fringing to lower and leading edges, pleats removed from top edge, lower hem weighted at one corner, a few small holes, drop 223.5 cm (88 in), width 180 cm (71 in), plus a pair of brocade curtains with pattern of crowns, Tudor roses, and feathers in cream on a pink ground, rufflete tape sewn to top edges, lower edges unhemmed, one curtain with adhesive paper label written in manuscript 'material produced for the coronation of Edward VIII', somewhat worn, drop 236 cm (93 in), width 170 cm (67 in) (Qty: 5)

* Doilies. A set of six Spitalfields silk brocade mats, early 20th century, a set of circular brocade mats composed from pieces of 18th century Spitalfields silk, backed with linen and with looped fringe edging, some light marks, diameter 26 cm (10.25 in), together with 53 other mats and doilies, including: a set of 12 lace-edged circular mats hand-painted in watercolour with landscapes, some identified in contemporary manuscript on versos ('Poole Estuary', 'Old Harry', 'Brading Downs', 'Poole Harbour', etc.), spotted, one faded and indistinct; a set of 12 square drawn threadwork mats hand-worked in gold thread on linen; and a set of 12 square doilies hand-painted in watercolour and gouache on cream silk with birds (nuthatch, budgerigar, gold crest, green woodpecker etc.), together with part of lid from old Fortnum & Mason cardboard box bearing manuscript note in ink pertaining to first item 'Best Table Mats made by me from old Queen Anne silk dress', with later pencilled note beneath 'No Not Q.A. Circa 1760 Spitalfields V&A Dating. H.B.' (Qty: 59)

* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1950, hand-embroidered in coloured wools on a fawn brocade ground, with all over 17th century-style design of hunting scenes, floral motifs, figures and buildings, animals and birds (unicorn, lion, snail, squirrel, insects, etc.), in shades of green, pink, orange, green, yellow, blue, and purple, including some metalled threads, using long & short stitch, stem stitch, French knots, and satin stitch, selvedges to sides, upper edge raw, lower edge hemmed with machine-stitching, .5 in diameter faint pink mark, manufacturer's card label stitched through two eyelets to one corner, bearing company monogram and giving typed and manuscript information: 'Crewel-Craft Embroidery, 1950 Emb: Stuart. A curtain based on the separate motifs of the Charles II period. Very rich in detail and design the motifs became almost symbolic of Royalists and occur again and again during the time of the Stuarts', adhesive fabric manuscript label to verso 'crewel hunting scene', 305 x 130.5 cm (120 x 51.25 in), together with another panel by Arthur Lee, comprising a large piece of fawn brocade with hand-embroidered crewelwork border in coloured wools along left-hand and lower edge, comprising various motifs, e.g. hunting and fishing scenes, animals (fox, squirrel, deer), and floral designs, selvedges to sides, upper and lower edges hemmed with machine-stitching, some soiling (especially to margins), printed paper label stitched to lower left corner bearing company monogram and 'Lee Fabric, Mothproof', with 'Walton Border Curtain' in manuscript, adhesive fabric manuscript label to verso 'Huntsman crewel floral border, fawn damask ground', 258 x 127 cm (101.5 x 50 in) (Qty: 2)NOTESTwo rare pieces of hand-embroidery by important textile designer and manufacturer Arthur H. Lee (1853-1932), probably unused sample pieces. The prestigious family firm of Arthur Lee & Sons was founded in 1888 in Bolton, subsequently moving to a purpose-built factory in Birkenhead in 1908. The company continued throughout the 20th century under the direction of Arthur's three sons and five grandsons before closing in 1970. The American branch of the firm, Lee Jofa, is still in existence in New York. As well as developing innovative methods of weaving tapestry cloths, and producing high-quality hand-blocked fabrics, Lee revived the practise of hand-crafted needlepoint and crewelwork. Pieces such as these seldom appear on the market.

* Circle of Domenico Maria Canuti (1625-1684). Putto seen from behind, coloured chalks on pale grey laid paper, some marks and minor surface losses to upper left and lower right corners, 225 x 155 mm (8.9 x 6.1 ins), laid down on 19th century cream laid paper, with triple ruled border in brown ink, and collector's label printed in red to verso incorporating the initials GC within a wreath incorporating a blason with lion rampant, and manuscript number in ink '97=A', old decorated gilt frame, glazed (Qty: 1)NOTESProvenance: Collection of Michael Jaffé (1923 –1997), former director of the Fitzwilliam Museum, Cambridge.

* Bergmuller (Johann Georg, 1688-1762). Scenes from the Passion of Christ, 8 red chalk drawings on laid paper depicting scenes from the Passion of Christ (including the arrest of Jesus, the flagellation, the agony in the garden, the carrying of the cross, the crucifixion, Jesus risen from the tomb, and the ascension), with thick black ink outer border, each 16.5 x 11 cm (6.6 x 4.3 ins), tipped on to 4 sheets of modern backing card, one of which bears a 19th century manuscript label giving the name of the artist 'Johan Georg Bergmiller del' and the stamped collector's mark of Eduard Maria, Fürst von Lichnowsky (1789-1845), Viennese historian and collector (Lugt 1707) (Qty: 8)NOTESProvenance: Eduard Maria, Fürst von Lichnowsky (1789-1845), Viennese historian and collector, author of Denkmahle der Baukunst und Bildnerey of Mittelalters in dem oesterreichischen Kaiserthume (1817-1822); Private Collection, Herefordshire. Bergmuller trained in Munich but was resident in Augsburg, where he established himself as a fresco painter and became director of the art academy there from 1730.

* Silhouette. Portrait of a young girl, circa 1840s, painted silhouette on card, heightened in gold, half-length profile to left, of a young girl with her hair in a bun and side ringlets, wearing a chiffon stole over her shoulders, sheet size 13.8 x 11 cm (5.5 x 4.25 in), mounted, together with: Joseph Hume (1777-1855), painted silhouette on card, head and shoulders profile to left, annotated on verso in contemporary pencil 'Allenby artist. 90 Strand', sheet size 10.2 x 7.6 cm (4 x 3 in), contained in a folding envelope sheet addressed 'Joseph Hume Esq M.P. 6 Bryanston Square' A pair of portraits, circa 1840s, scissor cuts mounted on an album leaf, heightened with gold, facing head-and-shoulders profile portraits of a young lady and a young gentleman, each approximately 8 x 4 cm (3 x 1.5 in), with verse in contemporary manuscript on verso, sheet size 22.2 x 18.6 cm (8.75 x 7.25 in), and 30 other 19th century miniature portraits, mostly painted and scissor cut silhouettes, some heightened with gold, including: 2 in contemporary ebonised frames; one annotated on verso 'Dickens by Wilson'; one of Mrs. Austin and Mr. Robt Austin (on recto and verso of same sheet); one of Sir Duncan McDougal; and several of children (Qty: 33)

* Circle of Thomas Daniell (1749-1840). Indian River Craft, five pencil and grisaille wash drawings on laid paper, each laid down on thick paper, each showing one or more junk sailing on a river, one with pencil annotation in contemporary manuscript to lower margin 'March 28. 88. GA', each annotated 'Daniell' in later pencil on verso of backing paper, largest 10.4 x 12.6 cm (4 x 5 in), smallest 7.1 x 6.1 cm (2.75 x 2.5 in) (Qty: 5)

* Harper (Henry Andrew, 1835-1900). The Holy Land 1881, watercolour and gouache on paper, showing the pool and church at Lydda, signed and dated lower right, 25.5 x 35cm (10 x 13.75ins), framed and glazed, Laurence Oxley, Hampshire Gallery label to verso and contemporary artists label with manuscript inscription (Qty: 1)NOTESHenry Andrew Harper (1835-1900) specialized in views of the Holy Land, and illustrated a number of books on the subject including J. C. Geikie's The Holy Land and the Bible in 1887, and his own Walks in Palestine (1888). His watercolours and drawings of Egypt and Nubia made in 1871 and 1872 were exhibited at Thomas Agnew in the 1870's and exhibitions of his Holy Land scenes were given by the Fine Art Society in 1894, 1897, 1899 and 1901.

ARR * Nash (John Northcote, 1893-1977). Study of a pair of hoopoes, pencil and monochrome watercolour on paper, depicting 2 hoopoes, with manuscript notes upper right corner, irregularly trimmed to upper margin, approximately 12 x 10 cm (4.75 x 4 in), mounted, framed and glazed, artist's circular ink studio stamp on reverse (Qty: 1)NOTESPreliminary sketch for an illustrated edition of The Natural History of Selborne by Gilbert White published in 1951.

* Snuff Boxes. An 18th century oval steel snuff box, the lid engraved 'Thoms Lathorn 1722', 8.5cm wide, together with 3 18/19th century papier mache snuff boxes including a circular German box painted with several wigged snuff takers, 10cm diameter (damaged), a Victorian rectangular snuff box with a striped finish and applied with a gilt shield engraved with initials and gilded metal thumb-piece, 2cm high x 9.5cm wide x 4.5cm deep, enclosing a gilt metal snuff spoon with old manuscript label inscribed 'John Rylands snuff spoon' and other items (Qty: 10)

Two double sided Medieval vellum illuminated manuscript pages, 14th century, hand scribed in Latin with coloured letters and scroll decoration, one page 13cm x 10cm, the other of double column script 19.5cm x 13cm, each framed between two panes of glass (2)

[CLASSIC LITERATURE] Dickens, Charles. The Christmas Carol, a facsimile reproduction of the author's original manuscript, intro. F.G. Kitton, Elliot Stock, London, 1890, quarter art vellum, top edges gilt, quarto.

[MODERN FIRST EDITIONS] Johnston, Denis. The Golden Cuckoo and Other Plays, first edition, Cape, London, 1954, boards, dustjacket, ASSOCIATION COPY signed by Felix Aylmer (1889-1979, English actor), with a loosely inserted two-page manuscript letter from the author to Aylmer, and a newspaper cutting, referencing his portrayal of Professor Dotheright, the lead character of The Golden Cuckoo, octavo.

A good mixed lot to include Winsor and Newson painting set, Boldmere acrylic set, a manuscript / calligraphy set, a Monut stationery set, a photo album for 160 photos size 18 cm x 13 cm, also included in the lot is a quantity of painting related books.[4] This lot must be paid for and removed by close of business on Fri

A City of Cardiff illuminated manuscript Presented to Mr Sydney Tapper-Jones O.St.J. LLB., in a red leather volume with gilding

A 19th century manuscript of music inscribed Mr Moorhouse's; a 19th century silhouette in burrwood frame

* [Barbados]. Grant of arms to Thomas Yard 'of the Parish of St George in the Island of Barbadoes', 22 October 1810, illuminated manuscript on single vellum membrane, 4 coats of arms in bodycolour heightened with gold (recipient, Duke of Norfolk, royal arms and College of Arms), green rules, paper seal, signed by Sir Issac Heard as Garter King of Arms and George Harrison as Clarenceux King of Arms, silk tags (lacking skippets and seals), 40 x 49.5 cm (Qty: 1)NOTESThomas Yard (1786-1844) was awarded compensation for the manumission of slaves on three estates, all on Barbados. His expenses 'rose sharply during and after Apprenticeship, reflecting the shift to waged labour, but he also appears to have invested in new livestock and equipment in this period' (UCL, 'Legacies of British Slave-ownership', online).

[Grand Tour]. Grand Tour diary, 2 volumes, 1785-95, manuscript in brown ink on laid paper, [125] + [137] leaves, unfoliated, mainly 30 lines to the page, contemporary vellum, remains of ties, folio (33 x 20.2 cm) (Qty: 2)NOTESApparently unpublished Grand Tour diary written by an attentive English observer, describing several years’ travel through France, Germany, the Low Countries, Switzerland and Italy. The author includes a foreword justifying his work as a practical guide for other Grand Tourists: ‘I regard myself as performing no unuseful task, when I submit to lay aside all pretensions to literary reputation, and to undertake a work which can have no other merit but its’ [sic] utility. To point out the best roads, & best inns, to name the places & churches where the finest paintings are to be found, without entering into any critical disquisition of their respective beauties, is I confess an humble undertaking’. After an initial tour in 1785-90 he seems to have revisited the manuscript, making extensive corrections and additions derived from further travels in 1793-5. In addition to the promised details of transport, accommodation and art collections including the Uffizi, the author provides an interesting description of a criminal trial in Vicenza and reflections on the Swiss style of government: ‘The spirit of toleration is usually supposed to keep pace with the progress of philosophy … But in Switzerland, they may be considered as totally independant [sic] of each other – Toleration is here the effect of government, not of philosophy’.

* Middlesex. Seller (John), Midlesex actually Surveyd and Deliniated, sold by Philip Lea, circa 1695, hand coloured reticulated engraved map, manuscript numeral to upper right margin, 425 x 520 mm, framed and glazed (Qty: 1)NOTESUncommon.

* Wiltshire. Speed (John), Wilshire, published John Sudbury and George Humble [1643], engraved map with near contemporary hand colouring, inset town plan of Salisbury and a vignette of Stonehenge, 385 x 505 mm, mounted, framed and double glazed with a contemporary manuscript list of the Hundreds of Wiltshire displayed in a separate aperture within the frame (Qty: 1)NOTESThe English Civil war created a resurgence in demand for maps and these 'campaign edition' maps were printed without any text on the verso. They were used primarily by the Parliamentary forces. A companion to this map - of Staffordshire - coloured by the same hand and with the manuscript text in the same hand can be seen in the Civil war Room of the Ancient High House at Stafford.

Yorkshire. Tuke (John), Map of the County of York by John Tuke, Land Surveyor, MDCCLXXXVII, [1787], engraved map with contemporary outline colouring, sectionalised and laid on linen on four sheets, inset town plan of Kingston upon Hull, inset map of the county showing the Roman roads, large decorative coloured cartouche, compass rose and table of explanation, slight dust soiling and staining, trimmed to neat-line with thread margins, overall size 1190 x 1420 mm, contained in a contemporary marbled card slipcase with manuscript label to upper cover, slipcase heavily worn and frayed (Qty: 1)

* Malcolm (R., 19th century). Low tide, 1877, watercolour on paper, showing fishing boats on a beach, signed and dated lower right, 22 x 33cm (8.75 x 13ins), framed and glazed, together with a collection of watercolours including Duke (F.M., 19th century) . Dorset, watercolour on paper, showing a Dorset coastline, 16 x 29cm (6.25 x 11.5ins), gilt moulded frame, glazed, Morgan (E.E., 20th century). Old Waterloo Bridge, 1925, pastel on paper, signed and dated lower left, 32 x 49cm (12.5 x 19.25ins), framed and glazed, old manuscript label to verso (the artist was a Bronze & Silver Medallist at the Paris Salon), Nibbs, (Richard, Henry, 1816-1893). Harbour scene with boats and figures, E. Lait, On the Thames and other watercolours (Qty: 8)

Karim, A[bdul]. Camera Studies in Iraq [cover-title], 1st edition, Baghdad: Hasso Bros., [c.1925], 73 photogravures printed rectos only on 50 leaves, printed calligraphic titles within plate-marks, printed slip 'Copyright Edition' with manuscript number 'a 104' tipped to rear pastedown over caption 'Rotophot A. G. Berlin', string-bound in original simulated crocodile-skin covers, oblong 4to (Qty: 1)NOTESThe images include street scenes in Baghdad, Mosul, and Basra, archaeological subjects, and ethnographic 'types'; there are also a few aerial views captioned 'RAF official photograph'.

Abbot (Charles, 1st Baron Colchester, 1757-1829). 'Political History of Europe. Vol. III [-IV]', 2 volumes, c.1800, manuscript in brown ink on thick laid paper, pp. [2] 415, [2] 205, engraved armorial bookplates of the author to front pastedowns, contemporary half calf, volume 2 rear board detached, spine cracked (held by cords), 4to (28 x 20 cm) (Qty: 2)NOTESOriginal holograph manuscript of an apparently unpublished work by the long-serving and influential Speaker of the House of Commons. Abbot (1757-1829) was Speaker from 1802 to 1817. '[His] speakership had been distinguished by an unflagging determination to improve administrative functioning through rational reform. He had also ensured that his researches into the history of parliamentary procedure were carefully collated, preserved, and handed on to posterity through the medium of John Hatsell's revised Precedents of Procedure (1818)' (ODNB).The third volume covers Germany, Italy, Switzerland and Turkey, the fourth (and apparently final) volume, Russia, Poland, Sweden, Denmark, Holland and Great Britain. Abbot's family papers are now held at the National Archives, Kew.

* Buller (Sir Richard, c.1578-1642). Indenture for the sale of land in Saltash, Cornwall, 1632, to an Anthony Groope of ?Launceston, manuscript in brown ink on single vellum membrane, retaining tags (seals absent), a few tiny holes and trivial marks, creased from folding, 31 x 49 cm, together with: [Lancashire], Indenture for purchase of land in Goosnargh, Lancashire, c.1596/7, by 'Thomas Barton of Barton in the countye of Lancs' from 'Thomas Strycklande of Wynester in the countye of Westmlande esq and Gervis Strycklande sonne and heire apparante', manuscript in brown ink on single vellum membrane, retaining 2 wax seals (affixed by tags), creased from folding, 51 x 53 cm, [Herefordshire]. Manuscript tithe-book, c.1720-45, recording tithes received for Ashperton, Canon Frome and Stretton, 54 leaves + blanks, 7 leaves at front with rodent-damage causing substantial loss, contemporary panelled calf, cloth ties, rubbed, 4to (19.6 x 15 cm), with 35 related manuscript documents (including rent contracts, lists and receipts of tithes, accounts of stock and crops of tithe-payers, and similar, c.1720-60, all loose), [Bedfordshire], Commonplace book kept by one Richard Guest of Bedford, c.1815-20, 20 leaves + blanks, contemporary tree calf, rubbed, folio (Qty: 4)NOTESSir Richard Buller (c.1578-1642), member of parliament for St German's (1620), Saltash (1625, 1628, 1628), Cornwall (1640) and Fowey (1640-2), emerged as one of the leaders of the parliamentary forces in Cornwall during the English Civil War. Many of the contracts accompanying the tithe-book record agreements with a Mr Poole, and the tithe-book is in the same hand: this is possibly Rev. James Poole (c.1683-?), vicar of Stretton Grandison in Herefordshire (see Robinson, A History of the Mansions and Manors of Herefordshire , p. 262, note).

* Evelyn (John & Mary, 1620-1706 & c.1635-1709). Indenture tripartite signed, 2 October 1685, manuscript in brown ink on 3 vellum membranes, conjoined along bottom edge with 6 vellum tags, a few marks, creased where folded, rubbed along folds affecting legibility in places, signed along upturned bottom edge of front membrane 'Charles Theyer', 'Amphillis Theyer', 'John Evelyn' (forename faded), 'Mary Evelyn', and 'John Jekyll', retaining seal of John Evelyn (the others near-perished), 72 x 62 cm (Qty: 1)NOTESProvenance: Estate of John Lawson (1932-2019). A complex indenture tripartite appearing to grant a remainder in the estate of Charles and Amphillis Theyer of Cooper's Hill, Brockworth, Gloucestershire, to (among others) 'John Evelyn of Deptford in the county of Kent Esqr and Mary his wife' and 'John Jekyll the elder citizen and haberdasher of London'. Charles Theyer (b.1651) was the grandson of antiquary John Theyer (1597-1673), and inherited his collection of 800 manuscripts which he sold to London bookseller Robert Scott, who sold them to Charles II; they are now in the British Library. John Jekyll was a successful London haberdasher and 'a leading radical civic organiser after the Oxford Parliament [of 1681]' (Schoerer, ed., The Revolution of 1688-89 , p. 216). He appears to have been a relation of Amphillis, whose father is named as Thomas Jekyll; her grandmother is named as 'Amphillis Musters [Mustard] late of Deptford in the county of Kent', suggesting a reason for Evelyn's involvement. Cooper's Hill is known today for its annual cheese-rolling competition.

* [Exchequer of Elizabeth I]. Exchequer receipt signed, 5 February 1559, 'ye have receyved thyrtee pounds of John Goodbarne at Shere for the fyne of a lease of certen landes and tenth in [?]Wynbourne', manuscript in brown ink on single sheet of laid paper, 13 lines, signed by Walter Mildmay ('Wa. Mildmaye'), Sir Richard Sackville ('Ry Sakevyle'), and William Paulet, 1st Marquess of Winchester ('Winchester'), spotted and marked, a few shallow nicks and chips to extremities, 28.8 x 20.9 cm (Qty: 1)NOTESExchequer receipt signed by Sir Walter Mildmay (1520/21-1589), Sir Richard Sackville (c.1507-1566) and William Paulet, 1st Marquess of Winchester (1474/5-1572) respectively as chancellor, under-treasurer and lord treasurer. 'Mildmay is generally credited, along with Winchester , with masterminding the exchequer reforms of the late sixteenth century, and he increasingly performed the day-to-day duties of the senior exchequer offices, while Winchester immersed himself more and more in the formation of policy' (ODNB). Mildmay is also remembered as founder of Emmanuel College, Cambridge.

* Gibbon (Edward, 1737-1794). Autograph scrip signed, 11 May 1786, 'Bon pour cent livres à Blondel, £100, EGibbon, ce 11 Mai 1786', written in black ink on verso of playing card (ten of diamonds, stencil-printed in red, 5.9 x 9.2 cm), tipped to modern leaf of card annotated in pencil, together with a similar playing card (nine of clubs), loose, unsigned (Qty: 1)NOTESProvenance: Estate of John Lawson (1932-2019). Gibbon retired to Lausanne to live with his friend Georges Deyverdun in 1783. By 1787 he had finished the manuscript of the final three volumes of the Decline . 'Blondel' was his valet de chambre.

* Illuminated armorial. Italian manuscript armorial fragment of the Spinelli family of Florence, probably 16th century, illuminated armorial on vellum in blue, white & gilt, within green & gilt roundel, within illuminated foliate border with birds & cherubic angels, 8.5 x 25.5 cm, framed & glazed (Qty: 1)

* [Ireland]. 'A Survey of the the Domain, Lands, and Bogs of Clooneen ... Part of the Estate of Thomas Berry Esq. Situate in the Kings County. Laid down by a scale of 20 Perches in one inch ... by Mich[ael] Cuddehy', 1796, estate plan, watercolour on vellum, soiling, a few small holes, creased from folding, 35.5 x 70 cm, together with: Crewe (John, 1st Baron Crewe, 1598-1679). Document signed, 27 December 1670, leasing marshland to Henry Moore of London, manuscript in brown ink on vellum, seal tear to corner (backed with paper verso), soiling, 22 x 28.5 cm, and 3 others including 2 vellum documents (large indenture dated 1679, and a 16th-century English document in Latin) (Qty: 5)NOTESProvenance (first item): Sotheby's, 25 January 1985, lot 178 (paid £35), with envelope. Crewe, of Steane in Northamptonshire, entered parliament in 1624 as member for Amersham. 'During the Personal Rule Crewe was charged with neglect over the collection of Ship Money, and accused of maintaining puritan preachers. Nevertheless, he was appointed to an honorary post at Court in 1638, and Charles I was later reported to have said that "Crewe, though he be against me, is an honest man". As a nominal Presbyterian he supported Parliament in the First Civil War, sitting for Brackley in the Long Parliament until Pride’s Purge' (History of Parliament, online).

* [Italian Renaissance]. Group of manuscripts and letters, 15-16th century, comprising: Inventory for the estate of Cesare Seccadenari of Bologna, 27 May 1580, Italian and Latin manuscript in black ink on vellum, 6 leaves, 32 lines to the page, written in a neat humanist hand, signed by notary public Antonio Malisardo and two other functionaries, later wrappers, 4to (25 x 18.4 cm), together with: Letter in the name of Borso d'Este, Duke of Ferrara (1413-71), Modena, 3 July 1453, tax demand to Feltrino Boairdo (d.1456), Italian manuscript on paper, single sheet, 11 lines, frayed and with 2 holes in text, 10 x 20 cm, Letter in the name of Corrado del Trinci, lord of Foligno (fl.1420-40), c.1420-40, Italian manuscript on paper, single sheet, 5 lines, stained, blind stamp, tipped to a modern leaf of card, 22.5 x 8 cm, Letter from a Filippo Trono ('Filipus Tronus'), lieutenant, 7 January 1478, requesting the recipient's appearance in council, Latin manuscript on paper, single sheet, 8 lines, folded, retaining seal, typescript partial English translation laid in, 14.5 x 20.8 cm, and 8 others, Italian letters, 15th and 16th-century, including 2 petitions in Latin to Pope Clement VII, dated 1525 and 1531, a few with accompanying typescript English translations (Qty: 12)NOTESProvenance: Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool (many items acquired by him at Bournemouth Philatelic Auctions, 5 December 1992, various lots, retaining lot tickets).

[Restoration London]. Album of documents and autographs, c.1660-90 comprising: 1. Petty (Sir William, 1623-1686), Autograph letter signed to John Evelyn (1620-1706), 24 March [16]74/5, concerning arrangements for supper, single sheet, 12 lines, written in brown ink, with Evelyn's autograph endorsement verso ('Sr Wm Petty 24 Mar 1674 579'), and of William Upcott (1779-1845) recto ('Sir William Petty, to John Evelyn, by whom it is endorsed. W. Upcott'), 19.2 x 15.7 cm, 2. Povey (Thomas, 1613/4-c.1705), Autograph letter signed, 26 November [16]68, to 'My Lord' (probably Sir William Temple, 1628-1699), concerning the recipient's patronage of Povey's nephew (i.e. William Blathwayt), single sheet, written on both sides, spotting, two words obliterated recto, 31.5 x 20 cm, 3. ibid., Treasury warrant for payment of twenty-five pounds to Thomas Povey, 15 June 1681, manuscript document, signed by Laurence Hyde, 1st Earl of of Rochester (1642-1711), Sir John Ernle (1617x20-1697), Sir Edward Dering, 2nd Baronet (1625-1684), Sidney Godolphin, 1st Earl of Godolphin (1645-1712), and Sir Stephen Fox (1627-1716), all as commissioners of the Treasury, single sheet, spotted, stained, repaired and restored, 30 x 18 cm, 4. Jermyn (Henry, 1st Earl of St Albans, 1605-1684), Warrant signed as Lord Chamberlain to Ralph Montagu, 1st Duke of Montagu (1638-1709) as Master of the Great Wardrobe, 14 August 1672, requiring provision 'to Francis Rogers Esqr keeper of His Ma[jesty's] standing wardrobe at Whitehall one greate elbow chayer & footstoole for his Ma[jesty] and ... chayers of crymson velvet with crymson fringe', 12 lines including addressee, single sheet, spotted, very minor loss to one edge, typescript label to foot, 30.1 x 18.7 cm, and approximately 15 other items, including: tally court receipt dated 13 January 1687 and signed 'Brouncker' (possibly Henry Brouncker, 3rd Viscount, c.1627-1688, cofferer to Charles II) ; fragment of letter dated 20 February 1679/80, list of books ordered on one side (with prices), shorthand notes on other (pencilled note to mount: '?Pepys'); London Gazette, numbers 691, 2021, 2026 (London: Thomas Newcomb, 1672-85); engraved bookplate of William Hewer (1642-1715), naval administrator; 3 loose contemporary manuscript fragments (one with pencilled note '? Evelyn'); and various engravings and later newspaper cuttings, all items (except manuscript fragments) tipped in or mounted, mounted typescript captions, home-made 20th-century album, 4to (31.5 x 24 cm) (Qty: 1)NOTESProvenance: 1) Sotheby's 11/12 October 1976; 2) Estate of John Lawson (1932-2019). Evelyn dined at Sir William Petty's on 22 March 1675 'with the Bishop of Salisbury, and divers honourable persons'. In his diary the event is the occasion for an effusive portrait of his learned contemporary: ‘There is not a better Latin poet living, when he gives himself that diversion; nor is his excellence less in Council and prudent matters of state … If I were a Prince, I should make him my second Counsellor, at least’ ( Diary and Correspondence , Bell and Daldy, 1870, volume 2, p. 102). As Povey's career as a colonial entrepreneur and administrator began to suffer in the 1660s it became clear that he could hope of securing patronage only for his talented nephew and heir William Blathwayt. In 1668 he and Henry Bennet, 1st Earl of Arlington 'induced Sir William Temple to employ the young Blathwayt as a clerk in the embassy at The Hague. His linguistic skill (he was the only official at the embassy who knew Dutch) rendered him a most useful member of the staff' (ODNB).

[Trecento Italy]. 'Register Book of Mei. Notary public of the village of Montepulsano in Campania' [manuscript cover-title], c.1345, Latin manuscript in brown ink on laid paper, 16 leaves, sewn on stubs, written on rectos and versos, leaves heavily rubbed and soiled, some marginal fraying, a few worm-tracks, 2 initial blanks (annotated), annotations and pagination to stubs, a few transcriptions tipped or laid in, 19th-century cloth-backed boards, worn, oblong 8vo (15.2 x 21.4 cm) (Qty: 1)NOTESProvenance: 1) Cecil Brent FSA (c.1828-c.1902), British archaeologist and collector (ink-stamps). 2) Thomas Ashby (1874-1931), British archaeologist in Italy (bookplate; invoice from William Downing, bookseller, Birmingham dated 2 March 1909). 3) Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool.

Bembo (Pietro). Opere, ora per la prima volta tutte in un corpo unite, 4 volumes, Venice: Francesco Hertzhauser, 1729, signatures pi2 *2 a-b6 (-b6, cancelled) A-2Y4 (2Y4=blank), *4 A-2F4 2G1-2 pi1 2G3-4 2H-2N4 2O6 a6 (-a5, cancelled) b-h4 a-2d4 2e3, a4 A-3B4 (-2A4, cancelled) 3C6 3D-3R4 3S5, *4 A-S4 T2 V-2X4 2Y5, engraved portrait frontispiece by Francesco Zucchi, engraved vignette to each title-page, volume 1 title-page printed in red and black, engraved headpieces and initials, a few very light tide-marks in margins, volume 3 signature M4 with repaired closed tear in fore margin, all volumes uncut in contemporary 'carta rustica', contemporary manuscript spine-titles, large folio (41 x 29 cm) (Qty: 4)NOTESProvenance: Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Gamba 145 ('splendida edizione').

Bible [English]. [The Bible: translated according to the Ebrew and Greeke, and conferred with the best translations in diuers languages..., Imprinted at London: By the deputies of Christopher Barker, 1594, i.e. 1595], lacking general title, New Testament title present with woodcut border and with imprint misprint dated 1495 (manuscript ownership to verso), Apocrypha present (with manuscript ownership 'William Taylor His Book 1705' to verso of final leaf), black letter text, lacking A4 & A5, leaves A8, S6 & 2R3 torn with loss, few other tears with occasional slight loss, 2H4 with long vertical closed tear to gutter margin, without leaves 3I3 & 3I4 after Apocrypha (blanks?), occasional ink underscoring and markings, some leaves loose and frayed to edges, bound with an incomplete Common Prayer (London: Robert Barker & Assignes of John Bill, 1636) at front and incomplete Concordances & incomplete Psalms at rear (London: Printed by A.G. for the Company of Stationers, 1637), leaves at front and rear of volume detached, frayed and some creased, dust-soiling and few marks, dust-soiling throughout volume, contemporary blind panelled calf, initials 'W.T.' (William Taylor) in blind to centre of both boards, lacking leather & brass clasps, 4to in 8s (21.3 x 15.9 cm) (Qty: 1)NOTESHerbert 219; Darlow & Moule 168; STC 2161. With Genesis i:3 - ' Then God sayde...'The incomplete Common Prayer, Concordance & Psalms contain the following leaves:The Common Prayer 44 leaves. Many of the leaves are very frayed.The Concordance comprises 78 leaves.The Book of Psalms comprises 44 leaves. Many of the leaves are very frayed, some torn and detached.

Bible [English]. The Bible, that is, the Holy Scriptures conteined in the Old and New Testament. Translated according to the Ebrew and Greeke, and conferred with the best translations in diuers languages. With most profitable annotations upon all hard places, and other things of great importance, [Imprinted at London (i.e. Amsterdam): By the deputies of Christopher Barker, 1599, i.e. 1599-1640], general title within decorative woodcut border (imprint & date provided in 19th century letterpress type and with blue ink manuscript word 'scriptures' and ink smudge, title-page also trimmed to ruled border and lined to verso), without second general title, bound without Apocrypha (as often), New Testament title present within decorative woodcut border, text in roman throughout, woodcut decorative initials, illustrations and maps to text, few leaves mostly at front of volume strengthened/repaired to fore-edge margins, heavy ink mark to verso of 3M3, fore-margin of 3A7 torn away with minimal loss to few letters of marginal notes, lacking final four leaves of tables at rear of volume (3R1-3R4), bound with an incomplete Book of Psalms at rear, dust-soiling and browning throughout volume and few marks, all edges gilt, early 19th century diced russia calf, joints cracked and slight wear to extremities, 4to (21.3 x 16 cm) (Qty: 1)NOTESHerbert 248; Darlow & Moule 188 & STC 2174. Geneva version; with Thomson's NT, but with Junius' Revelation. These '1599' Bibles were printed probably in Amsterdam and Dort and adopted by Barker, with the nominal date, 1599, which is probably untrue in almost every case. However this particular edition (Herbert 248) is possibly the earliest of these editions, as it contains more errors than the others. It is probable therefore that it was printed in Amsterdam in about 1599. The volume contains several errors including Esther i:1 '...seuen and twen- / ty provinces' , Song of Solomon v:3 'defile' for 'put' , Isaiah xxx:32, 'beards' for 'harps' , Isaiah xxxvi:12, 'thing' for 'dung' and Matthew xxiv:50 has a line repeated.

Bible [Greek]. Bibliorum pars Graeca quae Hebraice non invenitur : cum interlineari interpretatione Latina ex Biblijs Complutensibus deprompta, [Leiden]: Ex Officina Plantiniana Raphelengii, 1612, 344 pp., printer's woodcut device to title and with early manuscript ownership inscriptions, bound with: New Testament [Greek] , Novum Testamentium Graece, cum vulgata Interpretatione Latina, Graeci contextus lineis inserta, Quae quidem interpretatio ... [Leiden]: Ex Officina Plantiniana Raphelengii, 1613, 681,[7] pp., printer's woodcut device to title, final leaf torn to blank fore-margin and repaired, overall light toning and minor dampstaining at foot of some leaves, ink stamp to front free blank, without marbled free endpapers, late 18th century sheep, gilt decorated spine rubbed and a little worn at head & foot, 8vo (for second work see Darlow & Moule 4666, a reprint in smaller size of Plantin's folio edition of 1584), together with: Bible (Hebrew) , Biblia Hebraica non punctata ... Accurantibus Johanne Leusdeno & Joh. Andrea Eisenmengero, Frankfurt: Impens. Balthas. Christ. Wusti, Sen.; typis Johannis Wusti, 1694, engraved frontispiece, Hebrew & Latin titles, light toning, all edges gilt, contemporary vellum with yapp fore-edges, some dust-soiling and marks, 12mo (Darlow & Moule 5137a) (Qty: 2)

Binding. The Book of Common Prayer ... , together with the Psalter or Psalms of David ... , London: printed by the Assigns of John Bill and Christopher Barker, 1676, lightly soiled and spotted title pinned at gutter, with previous repair at fore-edge, and with 2 early ink ownership names at head (one partly scratched out) and early ink manuscript note 'And the new Testament' above imprint, numerous engraved plates, gathering C detached, C1 with loss at foot (affecting text), C8 with previous repairs, plate before F3 with loss to blank fore-margin, K1 partly detached with tear at gutter, bound with: The New Testament of our Lord and Saviour Jesus Christ, newly translated out of the Original Greek ... , London: printed by the Assigns of John Bill and Christopher Barker, 1676, bound with: The Whole Book of Psalms, collected into English Metre by Thomas Sternhold, John Hopkins, and others ... , London: printed by A. C. for the Company of Stationers, 1677, all titles and borders red-ruled (sometimes red & black) throughout volume, some spotting and toning (mainly towards front), marbled endpapers, front hinge and preliminary blank crudely strengthened at gutter, all edges gilt (rubbed), contemporary red morroco gilt, rubbed and worn, covers with cottage-roof design, inner black onlay panel with central quatrefoil orange onlay elaborately tooled with floral and seed head design, each 'cottage-roof' corner with a floral tool in black onlay, the overall design incorporating tulips, 3-petalled flowers, and fish-scales, some losses to onlays, 8vo (Qty: 1)NOTESThis work by an unknown binder bears some similarities to an example in the British Library database of fine bindings, shelfmark c65aa4.

Bindings. [The Divine Comedy], by Dante Alighieri, 2 volumes (of 3): The Purgatorio of Dante Alighieri, and The Paradiso of Dante Alighieri, J. M. Dent and Co., 1904, from the Temple Classics series, half-titles and titles printed in red & black, frontispiece to each volume, gilt floral endpapers, contemporary Florentine style painted vellum, the front covers with decorative initials and designs painted in red, green, pink, blue and yellow, heightened with gold, the spines with painted manuscript titles, somewhat dust-soiled, extremities rubbed, Purgatorio with small loss to foot of spine, Paradiso front joint cracked with short tear to spine covering, 12mo in 8s, together with: The Spirit of Anecdote and Wit, by John Seward, 4 volumes, London: Walker and Co., 1823, engraved portrait frontispiece to each volume, variable spotting and toning, each front pastedown with book ticket, most hinges cracked after/before endpapers, binding to 3rd volume nearly detached at rear hinge, all edges gilt, contemporary straight-grained red morocco gilt, extremities rubbed, some scuffs and mottling to covers, 12mo in 6s, with 2 others (Qty: 14)NOTESFirst item: The 'Florentine style' of painted vellum bindings was created in the late 19th century by the Giannini family, who produced a range of beautifully decorated books for the art-loving English community. Other local binders quickly followed suit, and these volumes from Dante's Divine Comedy closely follow the Giannini style.

Castelvetro (Giacomo, 1546-1616; former owner). Lettere devotissime della beata virgine santa Caterina da Siena, nuovamente con tutta la diligentia che si ha potuto ristampate, Venice: nella contrada di Santa Maria formosa, 1562, signatures a4 A-N4 O-3F8 3G10, woodcut title-device and initials, lacking quire M (replaced with a duplicate of quire N), apparently retaining final blank 3G10 (but lacking rear free endpaper), occasional light worming in gutter, variable damp-staining, commensurate loss to foot of front free endpaper and leaves a1-2 (a1=title-page) not affecting text, 2 small holes to a1-2 touching one word in a2, upper outer corner of a3 reattached, old paper repair along top margins of a1-4, marginal holes to A3-4, contemporary limp vellum, yapp edges, contemporary manuscript spine-title (with apparent trace of ownership inscription), faded inscription to front cover, remains of ties, soiled, 4to (20.6 x 15.2 cm) (Qty: 1)NOTESProvenance: Giacomo Castelvetro (1546-1616), writer and teacher of Italian, inscribed 'Di Giacopo Castelvetri' on the title-page in his hand, and with his autograph marginalia to folios 1-4, 23 and 87. Castelvetro, a native of Modena, visited England for the first time in 1574. He returned in 1580 and enjoyed the patronage of Sir Philip Sidney , Sir Christopher Hatton , and Sir Francis Walsingham; i n 1592 he became Italian tutor to James VI of Scotland and Queen Anne, and later taught at Cambridge. His time in England was interspersed with frequent trips to the Continent, including the great book fairs at Basel and Frankfurt. 'During his lifetime Castelvetro achieved only limited recognition, but after John Florio , the first recorded teacher of Italian at Oxford, he was the most important promoter of his native tongue and national heritage in England at this period. It was only in the twentieth century, with reassessments of his career and the publication of his 'Brieve racconto' as The Fruit, Herbs and Vegetables of Italy ( ed. G. Riley , 1989 ), that his significance as an advocate of the consumption of more fruit and vegetables was appreciated' (ODNB). For further examples of Castelvetro's hand see Newberry Case MS 5086 and Trinity College, Cambridge, MS R.10.6. Adams C1107; not in BM STC Italian.

Curtius (Rochus). Tractatus de Jure Patronatus... cum vespertine juris canonici lecture prefectus esset, 1st edition, Paris: Francois Regnault, [1514], 88 ff., double-column, title with woodcut elephant device, occasional early underlining and marginalia (a few margins trimmed affecting notes), full page annotations to final leaf verso, occasional light water stains, manuscript date 1514 at foot of title, modern brown half morocco by Eleanor Lawson (pencil note at front), light stains to upper cover, 8vo (Qty: 1)NOTESAdams C3115. First published in 1506, this is the first edition with the commentary by Rochus Curtius on jus patronatus or the right of patronage by the Church in granting privileges and gift of lands to benefactors.

Erasmus (Desiderius). In Evangelium Matthaei paraphrasis [bound with:] Paraphrasis in Evangelium Marci, 2 works in 1 volume, Lyon: Sébastien Gryphe, 1544, printer's woodcut device to title-page and verso of final leaf in each work, woodcut initials, slightly browned, occasional damp-staining, a few other marks, first work with short-closed tear to foot of title-page and small marginal worm-track in quires a-h, second work bound without quire O, replaced in later manuscript, ownership inscription in a similar hand ('Jo. Abel, 1758') and one earlier inscription to title-page, 18th-century sprinkled calf, rebacked retaining most of original spine, 8vo (16 x 10.2 cm), together with: Council of Trent, Catechismus ex decreto Concilii Tridentini, ad parochos, Pii V. Pont. Max. jussi editus, Cologne: Heinrich von Aich, 1567, damp-staining, 2 small holes to gutter of title-pag,e marginal repair to P1, 2G8-2H1 torn affecting a few words, closed tear in O6, vellum manuscript leaf used as pastedowns, no free endpapers, contemporary calf, binding broken, 8vo (15.6 x 9 cm), and 1 other (Qty: 3)NOTESAdams E748 (Erasmus, Matthaei ), E754 (Erasmus, Marci ), C1059 ( Catechismus ).

Evelyn (John). Sculptura; or, the History and Art of Chalcography, and Engraving in Copper, '2nd' edition, London: J. Murray, 1769, engraved portrait frontispiece, engraved plate, folding mezzotint plate, frontispiece and title-page browned, contemporary sprinkled sheep, joints split, extremities worn, 8vo (17.6 x 11.5 cm), together with: Piles (Roger de), The Art of Painting, and the Lives of the Painters, 1st edition in English, London: J. Nutt, 1706, engraved frontispiece, marginal hole in 2D1, contemporary manuscript slip tipped to front free endpaper containing biographical notices of painters from Da Vinci to Kneller, contemporary panelled calf, rebacked, 8vo (18.5 x 11.3 cm), Dryden (John, translator), The Art of Painting by C. A. Du Fresnoy, 2nd edition ('corrected, and enlarg'd'), London: for B. L. and sold by William Taylor, 1716, engraved frontispiece, contemporary panelled calf, rebacked and somewhat tightly sewn, restoration to extremities, 8vo (17.6 x 10.4 cm), and 9 others, 18th-century treatises on art and painting, French and English, contemporary bindings, some rebacked, 8vo (Qty: 13)NOTESProvenance: Patricia Milne Henderson (1935-2018), British art historian, with bookplates. ESTC T134297 (Evelyn, this edition in fact 'a reissue of the second edition of 1755, with a cancel title-page'), T10568 (Piles), N14579 (Dryden).

[Gillespie, George]. The Humble Representation of the Commission of the Generall Assembly, to the Honourable Estates of Parliament, upon their Declaration lately communicate to us. Edinburgh, 28. Aprile 1648, Printed at London by Edward Griffin for I. R. at the Sun in Pauls Church Yard, 1648, 28 pp., title torn to upper blank margin, ink underscoring and markings, final leaf creased and with closed tear, dust-soiled and few marks, disbound 4to (Wing G750), together with: Clerke (William) , The Triall of Bastardie: that part of the second part of Policie, or maner of Governement of the Realme of England: so termed, Spirituall, or Ecclesiasticall. Annexed at the end of this Treatise, touching the prohibition of marriage, a Table of the Leuitical, English, an Positive Canon Catalogues, their concordance and difference, London: Printed by Adam Islip, 1594, printer's woodcut device to general title and title of table, lacking final 4 leaves (gathering O4), occasional early annotations, some dampstaining, last few leaves frayed to margins, disbound 4to (STC 5411), Prynne [William] , Romes Master-Peece. Or, The Grand Conspiracy of the Pope and his Jesuited Instruments, to extirpate the Protestant Religion ... Printed at London for Michael Sparke, Senior, 1643, lacking B2 & B3, some cropping at foot, disbound 4to (Wing P4055), and other 17th century disbound pamphlets (some incomplete & defective) and various late 17th century Acts of Parliament etc., & three manuscript leaf fragments (Qty: approx. 35)

[Higden, Ranulphus]. [Polycronycon, imprented in Southwerke, by my Peter Treveris at ye expences of John Reynes, 1527], numerous decorative woodcut initials and few illustrations including one full-page (with closed tear & repair), lacking title (2a1, provided in manuscript facsimile with applied printed decorative border from another work), and lacking leaves 2h2-2h6, b1 & b8, L2, L4, L5, L7, M1, M8, N3, N6, O1, O8, P8, Q1, Q2, Q4, Q5, Q7, R2-8, S1-S8, T1-T6, U1-X8, with leaves q4 & q5 supplied from another copy (having cut-down margins, browned), leaves b1, b8 P8 & R8 provided in neat manuscript facsimile, 2a2 with excised text provided in manuscript facsimile and repaired, 2h1 with excised text and lined to verso, some dampstaining and marks, 18th-century panelled calf, gilt decorated spine with morocco title label, some pitting to leather surface, joints split, extremities worn, folio (29 x 19.7cm), together with an incomplete and defective [First tome or volume of the Paraphrases of Erasmus, London, circa 1551/52], lacking title and incomplete at rear, some leaves detached and torn, text block split in two, contemporary calf over wooden boards, lacking spine and boards detached, folio (Qty: 2)NOTESSTC 13440. The third and last early edition of Polychronicon, printed in 1527 by Peter Treveris. It succeeded the editions of William Caxton in 1482 and Wynkyn de Worde 1495. Sold with all faults, not subject to return.

Pemberton (Henry). A View of Sir Isaac Newton's Philosophy, 1st edition, London: S. Palmer, 1728, 12 engraved folding plates, engraved title vignette, initials and head- and tailpieces, old marginal repairs to E2, contemporary calf, front board detached, 4to (28.8 x 22.5 cm), together with: Le Grand (Antoine). An Entire Body of Philosophy, according to the Principles of the Famous Renate Des Cartes, in Three Books ... written originally in Latin ... now carefully translated, 1st edition in English, 1st issue, London: sold by the undertaker Richard Blome [and others], 1694, 85 engraved plates after Kip and others (of 100), one folding (between 4F2 and 4G1), many double-sided, several with dedications left blank (often completed in contemporary manuscript), marginal repairs to frontispiece, title-page and final leaf 8F2, variable damp-staining in top margins occasionally touching images or text, tear in gutter of folding plate, closed tear in 6D, a few other marks, 4 pp. contemporary manuscript bound in at rear (headed 'Mr Beaumont's account of wt happen'd to himself in his book of Genii, or Spirits'), contemporary panelled calf, rebacked and relined, front board detached, folio (33.8 x 21.6 cm), and 3 similar works (including Thomas Young, A Course of Lectures on Natural Philosophy and the Mechanical Arts, 2 volumes, 1st edition, 1807, incomplete, with 57 of 58 plates only, bindings defective, 4to) (Qty: 8)NOTESBabson 98 (Pemberton); Wallis 132 (Pemberton); Wing L950 (Le Grand).