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* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1950s, hand-embroidered in polychrome wools on a rich blue twilled ground, with all over 17th century-style floral design of trailing foliage and large flowers, using long & short, stem, chain, satin, and cross-stitch, latticework, and french knots, selvedges to sides, upper and lower edges hemmed with machine-stitching, small nick and evidence of tacking threads in right-hand edge, some faint vertical fading, and 1 or 2 very small marks, adhesive fabric manuscript label to verso lettered 'Blue Ground Jacobean', 331.5 x 133 cm (130.5 x 52.5 ins)QTY: (1)NOTE:Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner's father, proprietor of flooring and soft furnishings company F. Sanson Contracts.A rare and beautiful piece of hand-embroidery by important textile designer and manufacturer Arthur H. Lee (1853-1932); in very good condition, probably an unused sample piece. Pieces such as these seldom appear on the market; the rich blue ground of this example is particularly unusual.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, Arthur Lee revived the practise of hand-crafted needlepoint and crewelwork.

* Miniature. A collection of miniature, sewing, needlework, and miscellaneous items, mostly 18th & 19th century, including: a circular scissorcut by Georgiana Goodwin, of a bird perched on a branch surrounded by beribboned garlands, incorporating the words 'Peace & Love, William Spriggs' and the date '1783', mounted on pink paper, diameter 9.5 cm (3.75 ins), framed (12.5 cm), with contemporary ink inscription pertaining to provenance on the verso; a miniature (pin?) cushion sampler, worked in brown cross-stitch with the alphabet in upper and lower case, and Arabic numerals, within pink borders, on a cream linen ground, some tiny holes (just touching threadwork in places), crimson silk to verso, and brown thread tassel at each corner, 31 x 56 mm (1.25 x 2.25 ins); a pin cushion in the shape of a crown, with inscription on base in early manuscript 'Part of a dress given to Queen Caroline by the Silk trade 1820 & worn by her at a concert for the benefit of the North Street School, London', one small stain, 31 x 45 mm (1.25 x 1.75 ins); a yellow metal flyer for a spinning wheel with maiden upright fashioned as filigree bellows; various handmade bookmarks, including one made of camels' teeth; a cylindrical filigree bone tape measure, the measure marked out in ink, and various other items, including pin cushions and needlecases, glass bracelets and rings, a collection of semi-precious stones, some in small cardboard pill boxes, one inscribed 'Amethysts from Brazil', and the other 'The pills to be taken immediately Mr W. Spriggs', some Chinese rice paper drawings (torn), and a tiny portrait miniature of a lady, 15 x 13 mm, various condition and sizesQTY: (a small carton)NOTE:Provenance: Collection of Quaker antiquary Martha Spriggs (1777-1866), Worcester, by family descent.

* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1950s, hand-embroidered in polychrome wools on a green-beige twilled ground, with all over early 18th century-style floral design of trailing foliage and large flowers, including carnations, paeonies, tulips, roses, dahlias, trumpet vine, etc., using long & short, stem, chain, and satin stitch, selvedges to sides, top and bottom edges hemmed with machine-stitching, top edge with some holes and fraying (not affecting threadwork), verso with adhesive fabric manuscript label lettered 'Queensbury Crewel Beige Background', and manufacturer's card label (broken) stitched through two eyelets bearing company monogram and giving typed and manuscript information: 'Crewel-Craft Embroidery, 2718 Queensbury curtain, 1 of pair', 330 x 138.5 cm (130 x 54.5 ins)QTY: (1)NOTE:Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner's father, proprietor of flooring and soft furnishings company F. Sanson Contracts.A rare piece of hand-embroidery by important textile designer and manufacturer Arthur H. Lee (1853-1932); in very good condition, probably unused. Pieces such as these seldom appear on the market.

* Clothing. Three hollie point lace baby bonnets, late 18th century, all of fine white lawn and crown of Hollie point lace: the first with patterns pinched into the fabric, and lace depicting flowers in an urn, stiff muslin frill to edges, lightly foxed, 16 x 15 cm (6.25 x 6 ins), together with a pair of Georgian steel pincers, crudely engraved 'WK', with early manuscript label attached 'Pincers for making patterns on the baby's Caps', 10 cm (4 ins) long; the second with lace depicting a crown, and stiff muslin frill to edges, some fox spots, 17 x 14 cm (6.75 x 5.5 ins), with early manuscript label attached 'Two Baby caps one with a pattern pinched in it with tweezers, date about 1772'; the third with lace depicting floral stems and a Tudor rose, with whitework embroidery, drawn threadwork, and piping (piped ends uncut on one side), plus another handmade frilled white lawn baby bonnet, with finely-stitched piping (piped ends uncut as before), several fox spots, accompanied by a pair of cream woollen booties tied with silk ribbons, with manuscript note addressed to Sarah Binyon, Manchester, attached: 'Rachel Talham with dear love to Sarah Binyon requests her acceptance of the accompanying little cap as a small momento of friendship. Commercial Street 3rd Mo: 17th 1826', and 5 further 18th and 19th century baby caps and bonnetsQTY: (12)NOTE:Provenance: Collection of Quaker antiquary Martha Spriggs (1777-1866), Worcester, by family descent.We have not seen a bonnet with pinched decoration such as this, or indeed, the tool for making such patterns; it was evidently an ingenious way of adding ornament to a garment in a way which was far less laborious than embroidery, lace-making or beading. The initials 'WK' suggest that the pinching tool belonged to the antecedents of Martha Spriggs, her parents being William and Martha Knight.

* Clothing. Wedding dress, bonnet, lace shawl, and handkerchief, belonging to Martha Anna Binyon, née Spriggs, 1849, 4 items of wedding apparel, comprising: a pale turquoise silk gown, with round neck, boned bodice pleated at the front and terminating in a v-shape at waist, 12 original metal closure hooks to rear with buttonhole loops, long sleeves with scallop-edged turn-back cuffs, and close-gathered skirt with slight train, lined with cream glazed cotton, underarms discoloured on exterior, some scattered marks and mottling, but silk crisp and robust, with old manuscript label attached 'Martha Anna Binyon's wedding dress - née Spriggs - 1849', bust 66 cm (26 ins), waist 56 cm (22 ins), sleeves 54 cm (21.25 ins), length at front 134.5 cm (53 ins), length at back 141 cm (55.5 ins); a hand-stitched Quaker coal-scuttle bonnet, neck frill gathered with twisted cord bow at the back, some foxing, cream silk lining, lacking ribbon ties, with early manuscript label attached 'Martha Anna Binyon's wedding bonnet née Spriggs', 23 x 15 x 26 cm (9 x 6 x 9.5 x 10.25 ins); a cream Maltese lace stole, a few small areas of discolouration, 5 cm split to one side, 26 x 268 cm (10.25 x 105.5 ins); and a whitework handkerchief with hand-stitched drawn threadwork and embroidery, with brown stains and a small hole, 35 x 35 cm (13.75 x 13.75 ins), accompanied by an early manuscript label 'Martha Anna Binyon née Spriggs wedding shawl & handkerchief. 1849.'QTY: (4)NOTE:Provenance: Martha Anna Binyon (1816-1896), née Spriggs, and thence by descent.Martha Anna Spriggs married tea and coffee merchant Thomas Binyon (1795-1865) at the Friends Meeting House in Worcester on 8th February 1849.

* Clothing. A muslin bonnet belonging to Martha Spriggs (1777-1866), hand-stitched plain cream muslin bonnet, with self gathered ties, lightly toned, with old manuscript label attached 'Cap of Martha Spriggs née Knight', 24 x 20 cm (9.5 x 8 ins), together with:A net cap belonging to Hester S. Spriggs (1818-1899), frilled cream net cap, lined with black net, cream silk bow to rear and matching ribbon ties, some small breaks in net, with old manuscript label attached 'Cap, belonging to Hester S. Spriggs d. of Wm. Spriggs', 21 x 19 cm (8.25 x 7.5 ins), plus 2 whitework lawn caps labelled 'Day & Night Caps from Henwick', and another net cap, worn, labelled 'Cap belonging to Martha Anna Binyon née Spriggs'QTY: (5)NOTE: Provenance: Collection of Quaker antiquary Martha Spriggs (1777-1866), Worcester, by family descent.Martha Anna Binyon née Spriggs (1816-1896) and Hester Savory Spriggs (1818-1889) were both daughters of Martha and William Spriggs. Martha Anna married Quaker tea and coffee merchant Thomas Binyon (1795-1865). The couple purchased Henwick Grove in Worcester in 1862, and their daughter Gulielma continued to live there until 1942.

* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1950s, hand-embroidered in polychrome wools on a beige twilled ground, with all over early 18th century-style floral design of trailing foliage and large flowers, including carnations, paeonies, tulips, roses, dahlias, trumpet vine, etc., using long & short, stem, chain, and satin stitch, selvedges to sides, top and bottom edges hemmed with machine-stitching, 1 or 2 small marks, and a tiny hole (not affecting threadwork), verso with adhesive fabric manuscript label lettered 'Queensbury Crewel Beige Background', and manufacturer's card label stitched through two eyelets bearing company monogram and giving typed and manuscript information: 'Crewel-Craft Embroidery, 2718 Queensbury curtain No.185: 1 of pair', 322.5 x 138.5 cm (127 x 54.5 ins)QTY: (1)NOTE:Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner's father, proprietor of flooring and soft furnishings company F. Sanson Contracts.A rare piece of hand-embroidery by important textile designer and manufacturer Arthur H. Lee (1853-1932); in very good condition, probably unused. Pieces such as these seldom appear on the market.

* Sewing Box. A Regency miniature sewing box, tan morocco-grained paper-covered wooden box with embossed gold trim, the interior sectioned into compartments with cardboard dividers, containing 8 tiny spools of fine coloured thread, 4 miniature morocco-grained bindings, 2 with 'Poems' in contemporary manuscript to spines and constituting pincushions, the others a needlecase (slightly rubbed) and a slipcase for ribbon and 'Court plaister', lacking thimbles to 2 compartments, yellow silk pull-down panel in lid with 3 morocco compartments, 1 containing a pair of small scissors, a petit point embroidery of pink roses loosely inserted, accompanied by a manuscript note 'More than 100 years old in 1830. Made by Elizabeth Countess of Cavan wife of 6th Earl', yellow ribbon stay for hinged lid near-detached at one end, lacking key, height 5 cm (2 ins), width 11 cm (4.5 ins), depth 6 cm (2.5 ins) QTY: (1)NOTE:Elizabeth Davies (circa 1738-1811) married Lieutenant-General Richard Lambart, 6th Earl of of Cavan, in 1762.

* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1950s, hand-embroidered in wool in shades of pink, blue, green, and brown, on a brown twilled ground, with all over 17th century-style floral design of trailing foliage and large flowers, using long & short, stem, seed, chain, satin, and cross-stitch, and latticework, 2 holes towards top of panel (4 x 7 cm and 1.5 x 3.5 cm), first hole with some associated loss of threadwork, a few other threads loose, top edge hemmed with machine-stitching, matching looped tufted edging to sides and lower edge, verso with adhesive fabric manuscript label lettered 'Beige Ground Jacobean', and manufacturer's card label stitched through two eyelets bearing company monogram and giving typed and manuscript information: 'Crewel-Craft Embroidery, Tenbury Castle. 17.3', 322.5 x 142 cm (127 x 56 ins), together with:A crewelwork pelmet, Birkenhead, circa 1950s, hand-embroidered in polychrome wools on a gold damask ground, with stylised flowers and vegetation, using long and short, stem, and satin stitches, and latticework, stiffened, and lined with cream cotton on verso, looped tufting to lower edge, 28 x 236 cm (11 x 93 ins)QTY: (2)NOTE:Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner's father, proprietor of flooring and soft furnishings company F. Sanson Contracts.

* Miniature Clothing. Two Quaker miniature coal-scuttle bonnets made by Sarah Smith, Bonnet-Maker, Philadelphia, circa 1840s, the first an ivory silk coal-scuttle bonnet, with matching silk bow at back and silk ties, some fox spots (mainly to inside brim), 12 x 15 x 11 cm (4. 75 x 6 x 4.25 ins), the second of ivory silk similar, foxed, one ribbon tie detached and the other near-detached, 9 x 13 x 7 cm (3.5 x 5.25 x 2.75 ins), each with maker's printed ticket inside 'Sarah Smith, Bonnet-Maker, No. 81, Arch-street, Philadelphia', together with accompanying manuscript note: 'Dolls Quaker Bonnets, from America, belonging to the Binyon family', together with:Two miniature beaver hats, circa 1840s, 2 pale felted beaver fur top hats, with buckled grosgrain ribbon trim, crown extremities slightly threadbare, 7.5 x 12 x 10 cm (3 x 4.75 x 4 ins), with accompanying manuscript note: 'Two Dolls' Tall Beaver Hats. Shown in a Hatter's advertisement card on Shrub Hill Station, Worcester, bought by T.W. Binyon'QTY: (4)NOTE:Provenance: Collection of Quaker antiquary Martha Spriggs (1777-1866), Worcester, by family descent.Rare miniature bonnets and beaver hats, the former each with the original label of the American milliner, Sarah Smith of Philadelphia. These may have been intended for dolls to wear, made as apprentice pieces, or perhaps more likely, given the presence of the label, produced as samples to show prospective customers.Thomas Wakefield Binyon (1852-1930) was the grandson of Martha Spriggs.

* Embroidered picture. Needlework picture of Aphrodite, probably Continental, 17th century, worked in polychrome silk threads, metalwork, and beadwork, on padded cream silk, oval half-length portrait of a female figure in a landscape holding a mirror, with a building to her left, set onto pale gold silk (later?) within oval frame of spangles and metalwork, with a flower embroidered at each outer corner, worked using various stitches, including long and short, bullion, french knots, stem, satin, and latticework, the whole tacked onto a wooden panel with plinth to top edge, 20 x 17.5 cm (8 x 7 ins), together with an early 20th century tapestry picture depicting medieval figures, worked in coloured wools on hessian, portion of design where unfinished to lower edge, stitched area 88.5 x 16.5 cm (34.75 x 6.5 ins), framed and glazed (105 x 32.5 ins), and 2 sample embroideries, one of a pomegranate, the other of two forms of latticework, mounted together, with manuscript caption on mount 'Samplers by apprentices in Arthur H. Lee workshops - Birkenhead - about 1860', 13.5 x 10.5 cm (5.25 x 4 ins) and 8.5 x 4.5 cm (3.5 x 1.75 ins) respectively, framed and glazed (24 x 28 cm)QTY: (3)NOTE:Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner's father, proprietor of flooring and soft furnishings company F. Sanson Contracts.

* Textile Designs. Five large designs for silk fabric, France: Lyon, circa 1760s/70s, gouache on laid point paper, each depicting a different floral pattern, 3 including a lace ribbon design, and 1 additionally incorporating a stone urn, 2 printed '[Pierre] Huilliot a Lion' and 1 printed 'Veret place de la comedie a Lion' to lower blank margin, versos with contemporary manuscript instructions in French to the weavers pertaining to colours, size of pattern repeat, etc., and all but one with purple ink stamp 'Robert Ruepp 7 Rue Bergére Paris', a little dusty, some chipping and fraying to edges (and associated paper strengthening on verso), one with two 6 x 6 cm sections excised from top edge (with slight loss of pattern), another with 1.5 x 3 cm hole patched on verso (not touching design), sheet size 44 x 55 cm (17.25 x 21.5 ins) and slightly smaller, each mounted, together with another mounted fabric design unrelated QTY: (6)NOTE:A small collection of rare 18th century preparatory technical drawings, each for a different patterned silk; these acted as instructions to the weaver about how to tie up the threads on the loom before weaving in the pattern. Lyon was the most prestigious centre of the silk industry in Europe from the 1660s onwards; patterns of around a century later such as these typically feature large floral motifs and sinous ribbons or stems which unify the design, and they often incorporated metal threads. The V&A holds a number of similar Lyonnaise textile designs.Robert Ruepp (1854-after 1935) was an early 20th century designer who would have used earlier patterns as inspiration for his own designs. Ruepp first established his business in Paris in the early 1880s, and eventually had one of the largest Belle Époque industrial design studios, producing patterns for textiles and wallpapers which he supplied to manufacturers in France and abroad. Although he supplied all manner of designs, Ruepp was particularly known for his adoption of the Art Nouveau style. At the Exposition Universelle of 1900 a whole salon was devoted to the presentation of Ruepp's designs, an installation which drew much attention from the press and earned him a gold medal.

A Rare Indian Illustrated Manuscript of Poetry Depicting Nagari Das, Prince Savant Singh of Kishanagrh from the Late 19th Century.Approximately 28.7cm x 21.3cm

Genealogy.- Gibbins (Emma) Records of the Gibbins Family, portrait frontispiece, plates, tissue-guards, facsimile documents in pocket at end, previous owner's ink inscription, cracked hinges, spotting to endpapers, original half-vellum, rubbed, bumping to corners and extremities, Birmingham, for private circulation, 1911 § Alford (J. G.) Alford Family Notes, ALs from author loosely inserted, half-title, plates, occasional pencil underlining, ink manuscript inscriptions to front free endpaper, original cloth, a little rubbed, slight bumping to corners and extremities, 1908; and another similar, 4to (3). 

Physical chemistry.- Harkins (William Draper) [A collection of c.28 offprints authored or co-authored by Harkins], bound together in 1 vol., subjects include the structure of atoms, stability of atom nuclei, the separation of isotopes and the whole number rule, typescript title and 3ff. Index, some diagrams and illustrations, Harkins' own copy with his ink ownership inscription "W.D. Harkins" to front free endpaper and "Kent Chemistry Labatory University of Chicago" beneath in pencil, Index with some pencil notes and corrections in Harkins' hand, lower hinge weak but holding, original cloth, mottled, rubbed, [1915-24]; and others by or relating to Harkins, including his own bound volumes of his offprints, a manuscript examination book by his son Henry Nelson Draper and other ephemera, v.s. (c.15) *** William Draper Harkins (1873-1951), American physical chemist. Harkins was the first to use the term 'neutron' in connection with the atomic nucleus, and the first to propose the principle of nuclear fusion. The first mentioned includes important papers co-authored by Harkins and E.D. Wilson in 1915, on "The Structure of Complex Atoms", "The Changes of Mass and Weight Involved in the Formation of Complex Atoms" and "Recent Work on the Structure of the Atom". 

Palm leaf manuscript in Balinese, incomplete at 43 leaves only, few leaves with small portions of loss, soiling and staining, obscuring some text, oblong bamboo covers, covers and leaves strung together through twisted cotton cord in one of 3 small holes (present to each leaf and covers), each leaf c.430 x 32mm., n.d.; and a mixed group of others, including a collection of Arabic leaves, a calligraphic scroll and leather scroll with Hebrew text, v.s. (9) *** The first seemingly part of a "Babad" or historical text. 

Tasso (Torquato) La Gerusalemme Liberata travestita in lingua Milanese, first edition, 4 vol., translated by Domenico Balestrieri, half-titles, early ink monogram to vol. 1 pastedown, contemporary carta rustica wrappers with manuscript lettering to spines, vol. 1 small bookseller's label to upper cover, vol. 2 upper cover light damp-stain, edges uncut, Milan, Giovanni Batista Bianchi, 1722; and 3 other continental works in original wrappers, 4to & 8vo (9)*** A first edition copy of this famous translation by Domenico Balestrieri of Tasso's poem into the Milanese dialect, perhaps the most well known of several dialectic translations. Scarce in commerce. 

Botany.- Curtis (William) Flora Londinensis; or, plates and descriptions of such plants as grow wild in the environs of London, vol.1-5 (only, of 6) bound in 3, first edition, title to vol.1 only, engraved author portrait mounted on front free endpaper of vol.1,  360 hand-coloured engraved plates, many trimmed and mounted on stubs, 6pp. manuscript "alphabetical index to the first five (out of six) fasciculae of Curtis's Flora Londinensis" in vol.1, final text leaf supplied in manuscript, light browning, light scattered spotting affecting some plates, nineteenth-century green half morocco by Birdsall, spine with raised bands in seven compartments, slightly rubbed, t.e.g., others uncut, folio, printed for and sold by the author, 1777.

Strange (Robert) A Descriptive Catalogue of a Collection of Pictures, selected from the Roman, Florentine, Lombard ... and Spanish Schools, previous owner's ink signature to title, number in manuscript to front free endpaper, contemporary half-calf, rubbed and worn, bumping to corners and extremities, 8vo, 1769.

Schulz (H.C.) French Illuminated Manuscripts, one of 200 copies with an original leaf from a miniature Book of Hours, some light spotting, endpapers lightly browned, original parchment-backed decorative boards, couple very faint spots to spine, plain dust-jacket, spine with title in faded ink manuscript, few very small nicks to head, browning to spine and joints to flaps, light spotting to lower panel, very light dust-soiling, 8vo, San Francisco, Grabhorn Press, 1958.

Herefordshire.- Correct Report (A) of the Trial of Coward versus Wellington for Slander, at the Hereford Assizes, Hereford, Edward Power's Offices, 1836, 2 vol. only (of 3), together a collection of 35 pamphlets on or published in Herefordshire, one or two folding plates, occasional manuscript inscriptions and corrections, scattered spotting, bookplate, near contemporary half-calf, red calf spine labels numbered 'vol. I' and 'vol. III', a little rubbed, slight bumping to corners and extremities, 8vo. *** Comprising pamphlets of legal, diocesan, education, literary, medical and agricultural interest. Also including some scarce auction catalogues. All relating to Herefordshire, and dating between the early and mid-nineteenth century. 

La Fontaine (Jean de) Contes et Nouvelles en Vers, 2 vol. in 1, nouvelle edition, additional engraved pictorial title and half-page illustrations by Romeyn de Hooghe, vol. 1 title printed in red and black, B7 small chip to head without text loss, light offsetting, some light water-staining, contemporary vellum, ink manuscript title to spine, soiled, Amsterdam, Pierre Brunel, 1709 § Walcot (W.) Architectural Water-Colours & Etchings of W. Walcot, one of 275 numbered copies, signed etching by Walcot and numerous illustrations, prospectus for the work loosely inserted, signed etching with some light and mostly marginal spotting, original cloth, gilt, few very small gouges to spine, some wear to corners, little rubbed, 1919; and others illustrated or art related, including a few pieces of ephemera and a defective copy of Hullmandel's The Art of Drawing on Stone (1833), v.s. (c.15)

Sala (George Augustus, journalist, 1828-95) The Miscellaneous Writings of the late George Augustus Sala... edited with notes by Joseph Charles Parkinson, comprising: 6 autograph pieces (including part of the original manuscript of the Hogarth papers edited by Thackeray for the Cornhill Magazine) by Sala; 3 autograph notes by Joseph Charles Parkinson (1833-1908), journalist; 7 autograph notes and letters by Edmund Yates (1831-94), journalist; 8 portrait photographs of Sala, all laid down on 7 album sheets, v.s., v.d., 1853-75. *** "Hogarth 2. 12", with note appended by Joseph Charles Parkinson, "The above is from the original MSS of the Hogarth papers published in Cornhill Magazine. - J.C.P."

Britain.- Bowen (Emanuel) Britannia Depicta or Ogilby Improv'd, fourth edition, engraved title, previous owner's ink signature to title verso, 273 engraved plates, one or two marginal ink manuscript notes, lacking final free endpapers, manuscript pencil notes to front endpapers, final ff. verso and final pastedown, front free endpaper becoming detached, near contemporary calf, a little rubbed, slight bumping to corners and extremities, 8vo, Tho. Bowles, 1736.

Giudici (Cesare) L'Osteria Magra, half-title, scattered spotting, ex-library with red ink-stamp to title and final ff., previous owner's manuscript signature to half-title, bookplate, later vellum, light spotting, slight bumping to corners and extremities, Padua, 1692 § Beregani (Nicola) Compositioni Poetiche ..., engraved frontispiece, engraved title vignette, spotting and faint staining, one or two tiny marginal holes, modern crushed morocco backed boards, Venice, 1602; and 2 others, Italian, 16mo (4). 

America.- La Luzerne (Anne-César de, diplomat, French Minister to the United States, 1741-91) Extrait... [Extract from the register of baptisms, marriages and burials kept by us religious brothers... Philadelphia...], manuscript document in French, signed by Anne-César de La Luzerne, 4pp., red wax seal, folds, slightly browned, Philadelphia, 19th June 1784; and a collection of papers relating to various legal transactions, purchase of bills, insurance companies, shipping accounts etc. in America, folds, browned, folio & 4to (c. 20 pieces).

Textiles.- [Antique Dealers Stock Book of various Carpets, Rugs & other fabrics, embroideries etc.], 47 vintage photographs, most with accompanying manuscript label, all pasted onto thick card, light soiling, disbound, chipping to edges, rubbed, oblong 4to, c.1890.

Friend of John Milton.- Hartlib (Samuel, educational reformer and writer, c. 1600–1662).- "Recd by mee William Sydenham... and Charles Fleetwood... as Govnors of the Isle of Wight" for the sum of £230 to pay the wages of 60 soldiers, witnessed by Samuel Hartlib and another, tear in right margin with loss of some text and most of the signature of William Sydenham and another, manuscript receipt signed "Sam: Hartlib", slightly browned, 203 x 148mm., 22nd July 1653; Rutland, Barrowden.- "Ann Tippen of the parish of Barrowden... Oath That the Body of Tobis pocleing was not wrapp'd wound or bound in any thing but what was not of Sheeps Wool Only, witnessed Fra: Wotton Rector of Barrowden, manuscript declaration, 105 x 165mm., 30th February 1787; and 2 other cut documents bearing the signatures of Charles Spencer, third earl of Sunderland (1675-1722), politician and John Potter (1673/4-1747), archbishop of Canterbury etc., v.s., v.d. (4 pieces). *** First mentioned: "[Hartlib's] proposed reformation of learning induced Milton to write his treatise On Education (1644), which was dedicated to Hartlib. His advocacy of a world of correspondency unfettered by monopolist restraint was one of the stimuli to Milton's composition of the Areopagitica (1644), with its criticism of censorship tempered by a defence of authorial rights. " - Oxford DNB.

Advertising Broadside.- Jack the Ripper.- First Time out of London. Adams's Anglo-American Combination Coy. comprising over 500 sights in Wax Work and Mechanical Inventions, printed broadside, foldlines, one or two short splits, date in manuscript to upper corner, laid onto paper, c.440 x 140 mm., [Nottingham], [c.1889]. *** Rare. Seemingly unrecorded.  A rare advertisement for waxworks and mechanical inventions, somewhat gruesome through modern eyes, which include; an early waxwork exhibition of the victims of Jack the Ripper, and a life-sized figure of General Gordon which it claims, "is made to breathe as natural as life by the aid of machinery. The figure is seen to gasp for breath, as the blood oozes from the bullet-wound in the side." 

Charles II.- Inspeximus, "Whereas Thomas Cartwright Doctor of Divinity... of Barking in the County of Essex did heretofore exhibite his Englisshe bill... against Edmund Paliner and Natthaniel Palliner to have the tythes of certainne marsh lands called Dunshooke and Pondleaze... in Barking, manuscript in Latin and English, on vellum, in Chancery hand, engraved decoration at head, a few small holes along folds, lacks seal, 455 x 690, 25th June 1667; and 11 others including several incunable leaves, v.s., v.d. (12). *** Thomas Cartwright (1634-89), vicar of Barking; bishop of Chester; "Cartwright has been the subject of intense vilification, seen as the primary clerical quisling of the Church of England under James II, with generalized allegations of immorality thrown in—'much scandal of the worst sort', in Wood's words (Wood, Ath. Oxon., 3rd edn, 4.256)." - Oxford DNB.

Anatomical Dialogues, or, a Breviary of Anatomy, third edition, 10 engraved plates, the odd faint spot, ink inscription to front free endpaper, contemporary calf, rebacked, morocco spine label, rubbed, Printed for G. G. J. and J. Robinson, 1792 § The Famous Tryal in B.R. Between Thomas Neale, Esq; and the Late Lady Theodosia Joy, The 4th of June, 1684, 2 folding maps, hand-coloured in outline, water-staining to foot of first few leaves, 1696 bound with The Lady Ivy and Appeal of Thomas Ivie, together 3 works in one vol., light scattered spotting, modern half calf, morocco spine label § Satires of Persius (The) Translated into English Verse, second edition, title leaf loose, library stamp to title verso, light spotting to initial leaves, contemporary calf, red morocco spine label, upper joint slightly cracked, spine ends and corners slightly bumped, A. Millar, 1751; and 5 others, including a personal manuscript notebook from 1851, v.s. (8) *** The first book a rare work on anatomy. The third book bears the distinctive red library stamp of Ernest Augustus (1771-1851), the fifth son of King George III and Queen Charlotte. 

Milton (John).- Morley (Henry, apothecary, journalist, and literary scholar, Professor of English Literature at University College, London, 1822-94) An Unpublished Poem by Milton (To the Editor of the Times), autograph manuscript draft signed, 6pp., numerous ink corrections and crossings out, folds, 227 x 190mm., 13th July 1868; and c. 30 letters etc. relating to Morley's announcement of finding an unpublished poem by Milton including a copy of his announcement to The Times, v.s., v.d. (c. 30). *** The Times for July 16, 1868, published a letter by Henry Morley, Professor of English Literature at University College, London.  In the letter Morley stated that he had found a poem, entitled 'An Epitaph,' in Milton's handwriting, on a blank page in the 1645 volume of Poems both English and Latin. This book was in the British Museum's King's Library, formed by George III, the poem being written on the reverse of the blank end page.  The poem consisted of 54 lines, packed into the size of a piece of notepaper, with a signature appearing to be 'J.M., Ober, 1647.'  A British Museum stamp partly covered the signature and subsequent viewers have suggested the initials in fact read P.M., not J.M.

Witchcraft. Trial, Conviction, & Execution, of Rose Cullender and Amy Duny...at Bury St. Edmunds, 10th Day of March 1664...Likewise a Report of a Trail and Conviction of Three Females...at Taunton, 1823, ink ownership inscription to head of title dated 1948, final leaf secured at gutter with tape, some light soiling, mainly to title and verso of final f., disbound, Langham, [1823] § [Bolingbroke (Henry)] Letters on the Spirit of Patriotism, contemporary ink ownership name to front pastedown, bookplate of the Surtees Library to rear pastedown, some light browning, occasional light spotting or soiling, contemporary calf, spine ends and corners worn, rubbed, heavily to spine, for A. Millar, 1752 § [?Burton (John Hill)] Convicts by a Practical Hand, title vignette, browning to title fore-margin, disbound, Edinburgh, Edmonston and Douglas, 1865 § [Woodward (Nathaniel)] Public Schools for the Middle Classes. A Letter, Etc., 'List of some of the chief Subscriptions or Donations to the Building and Furnishing Fund' (pp.22-3) with additions in ink manuscript to foot of p.22 and verso of p.23, unbound, Joseph Masters, 1852; and others on various subjects, some ephemera, including the printed broadside "Mort et Convoi de l'Invincible Malborough" (Beauvais, Diot, n.d.), v.s. (13)

Harrington (Elizabeth Still) Ballads & Poems, manuscript additions in German and English initialled by author, half-title, bound without title, contemporary morocco, a little rubbed, light spotting, n.d; nathan the Wise: a Drama in Five Acts, half-title, unopened, original cloth, slight bumping to corners and extremities, 1875; The Norse Brothers, original cloth, light mottling, slight bumping to corners and extremities, 1875; Poems, half-title, manuscript corrections in ink and pencil, original cloth, a little rubbed, slight bumping to corners and extremities, 1874; v.s. (10).

Auction Catalogues.- Broster (Mr.) A Catalogue of Ancient Stained Glass, Curiosities, and Library of Books, to be Sold by Auction, one or two manuscript notes, scattered faint spotting, contemporary calf, slight rubbing to corners and extremities, Chester, M. Monk, [1818] § Catalogue of the Books, Manuscripts, Etc., of the late George T. Strong, Esq., some prices inserted by hand, faint marginal staining, original wrappers bound in, contemporary half-calf, a little rubbed, slight bumping to corners and extremities, New York, [1878]; 8vo (2). 

Charles II Coronation.- Draft of a summons to the coronation of Charles II as a Knight of the Order of the Bath, 1p., manuscript, very small piece of left hand corner torn away not affecting text, [1661]; FitzRoy (Charles, as earl of Southampton, later duke of Cleveland and first duke of Southampton, natural son of Charles II & Barbara Palmer, 1662-1730) & Butler (Thomas, sixth earl of Ossory & , politician and naval officer, 1634-80).- Draft of directions for the Installation of the Earls of Southampton and of Ossory as Knights of the Garter at Windsor..., manuscript, 2pp. & conjugate blank, 1673; and another in a different hand, a draft "Breife Direction for the Installacion of a Kt of the Garter", also for the Earl of Southampton at Windsor on 1 April 1673, manuscript drafts, folds, slightly browned, folio, 1661 & 1673 (3). *** First mentioned, the creation of knights of the Bath at the Restoration in 1661, and the last occasion on which this medieval ceremony was to be performed. 

Musei d'Engelbronneriani Catalogus. Catalogus ... Cabinet van Natuurlyke Historie, double-column in parallel Latin and Dutch, interleaved with manuscript prices in ink and pencil, small diamond book-label to front pastedown, contemporary boards, remnants of printed paper label to upper cover, rubbed and worn, bumping to corners and extremities, 8vo, Amsterdam, P. den Hengst & Zoon, [c.1780].

European Travel Journal.- [Journal of a tour in France], manuscript, 100pp. excluding blanks, 13 photographs, slightly browned, original cloth, 1897; and 8 others,including  an 1879 diary and a scrap album with manuscript verses, sm. 4to & 8vo (9) *** Tour of a group of unidentified Victorian ladies, includes: Pau, Lourdes, Argeles (meeting Henry Patrick Marie, Count Russell-Killough (1834-1909), one of the pioneers of Pyrenean  exploration, known for his obsession with the Vignemale) etc.

* Attributed to Edward Matthew Ward (1816-1879). Lord Byron, after his refusal by Mary Chaworth, a Study, oil on board, verso with partly legible early ink manuscript label giving title and artist, 262 x 224 mm (10 1/4 x 8 3/4 ins), moulded gilt framed (40 x 35 cm)QTY: (1)

* Smith (D. H., 1947-). Storm I, 1977, watercolour, signed and dated lower left, 12.9 x 10.4cm, framed and glazed, with typed gallery labels on backboard for Fischer Fine Art, and artist's manuscript label 'No.4. To touch the incomprehensible power', (frame 41.1 x 34.5 cm)QTY: (1)NOTE:D. H. Smith studied at Grimsby School of Art, and the Royal College of Art in London where he was taught by Peter Blake. He held his first exhibition at the end of his second year at the New Art Centre in Sloane Street.

* Hancock (Charles, 1802-1877). In the Meadows on Tyes Farm [and] North Lands, Staplefields, Sussex, 12 April 1876, oil on board, the first signed lower left, both 18 x 25 cm (7 x 10 ins), pierced gilt frames, near-contemporary manuscript label to versosQTY: (2)NOTE:Tyes Farm (now Tyes Place) in Staplefield, West Sussex, is today a private residence. Charles Hancock is best known as a painter of equestrian and hunting subjects and succeeded John Ferneley in supplying paintings of Derby and St Leger racehorse winners to the print publishers Ackermann.

* French School. Devotional Triptych, circa 1850, a devotional triptych for private use, with central painted leather panel depicting The Crucifixion and two hinged side panels with inset mounted illuminated manuscript prayer on vellum in red, blue, gold and black, the three leather panels with elaborate gilt tooling and coloured motifs in green-blue and red, including at the head of the central panel the Eye of Providence, outer sides with repeated blind patterning (rubbed and some marks), overall size 48.5 x 67.5 cm (19 x 26 1/2 ins)QTY: (1)

* Hamilton (Hugh Douglas, circa 1739-1808). Portraits of Lord Sandys [and] Lady Sandys, 1771, a pair of oval head and shoulders pastel portraits on paper, both half-profile to left, the first showing Edwin, 2nd Lord Sandys, Baron of Ombersley (1726-1797), wearing a beige coat with a cream and red waistcoat and white stock, signed and dated 1771 lower left, a few foxing and mould spots, lightly rubbed in places, the second portraying his wife Anna Maria née Colebrook (1720-1806), wearing a white dress, with a bow of pink-edged ribbon, and a headpiece of white lace and pink-edged gathered ribbon, rubbed in places, each mount aperture 250 x 200 mm (9 7/8 x 7 7/8 ins), uniform gilt moulded frames, glazed (41.5 x 36.5 cm), both frame versos with various ink manuscript annotations regarding the sitters and provenance, including a near contemporary ink manuscript label on the verso of Anna MariaQTY: (2)NOTE:Provenance: William Roberts (1862-1940) art critic and art sales correspondent of the Times; Sotheby's sale 31st July 1940 (lot 54); (Arthur Jaffé (1880-1954); Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent. International lawyer Arthur Jaffé was an eminent scholar and collector of miniature paintings. He was an authority on John Smart, and spent many years researching the miniaturist, with the intention of writing a catalogue raisonné of the artist’s works. Although he died before the task could be completed, the body of work he had produced formed the basis of Daphne Foskett’s book, John Smart. The Man and his Miniatures, published in 1964. Anna Maria, daughter of James Colebrooke, was the widow of William Paine King of Fineshade Abbey, Northamptonshire, when she married Edwin Sandys in 1769. Edwin inherited his title when his father Samuel Sandys, 1st Lord Sandys, Baron of Ombersley, died in 1770. The notes on the frame versos explain that these works were purchased from Sotheby's in 1940, "from the collection of the late W. Roberts for many years Arts Sales Correspondent of The Times, lot 54 ...", additionally the notes describe how the pair of pastels were, "reframed from square (dating about 1911) by P.D. Colnagli & Obach into these ovals (dating 1779) by A. Jaffé 1941". The early ink manuscript label reads "Anna Maria Baroness Lady Sandys married J. King Esquire of Finshade - Nottinghamshire, and afterwards Edwin Lord Sandys."The portrait of Lord Sandys has a postcard adhered to the verso, inscribed in ink manuscript, signed by Evangline Roberts and dated September 1940. It explains that these two pastels had been, "given to my late father some years ago but by whom I don't remember". Arthur Jaffé had clearly been trying to discover more of the provenance of these drawings. Under the postcard is a Thomas Agnew & Sons printed label with ink manuscript 'A. Jaffé Esqr, to be called for'.

* Binyon (Benjamin, 1790-1865). ‘South front view of Knole House, Sevenoaks, Kent, the Seat of Earl Am[h]erst’, circa 1855, watercolour on paper, contemporary manuscript title beneath, 27.5 x 58 cm (11 x 23 ins), framed and glazedQTY: (1)NOTE:Provenance: from the family of Martha Spriggs (1777-1866), by direct descent.William Pitt, 1st Earl Amherst, lived at Knowle between 1839 and his death in 1857, through his marriage to May Sackville, daughter of the 3rd Duke of Dorset. This and the painting of Water Street are the only two paintings by Benjamin Binyon known to survive. Benjamin had reproductions made of this picture, which he sold to visitors to Knowle.

* Kilian (Lucas, 1579-1637). Portrait of Johann Fürleger, 1626, engraving on laid paper, with castle watermark, printed inscription 'Lucas Kililan Aug ad vivum delineavit et sculpsit A.o 1626' to lower margin, sitter's name in ink in a contemporary hand to cartouche, with wide margins, pale damp stain to lower blank margin, hinge mounted onto backing board, plate size 190 x 130 mm (7 1/2 x 5 ins), sheet size 300 x 189 mm, framed and glazed (350 x 290 mm), together with:Küsel (Matthäus, 1629-1681). A pair of portraits of Georg Paul Imhof, after Georg Strauch, circa 1664, together two engravings on paper, manuscript inscriptions on recto to both in ink and pencil, plate size 244 x 175 mm (9 3/4 x 7 ins), in a multi-aperture mount, framed and glazed (440 x 580 mm),Vico (Enea, 1523-1567). Ex Antiquis Cameorum et Gemmae Delineata, comprising 12 proof engraved vignettes on single sheet of laid paper, plate size 305 x 430 mm (12 x 17 ins), sheet size 313 x 440 mm (12 3/8 x 17 3/8 ins), window-mounted,Weiditz (Hans, 1495-1537). Sheep shearing, milking and butchery, early 16th-century, woodcut on laid paper, trimmed to image, sheet/image size 140 x 153 mm (5 1/2 x 6 ins), window-mounted, frames and glazed (270 x 275 mm),Dietterlin (Wendel, 1550-1599). Plate 171 from Architectura von Austheilung, Symmetra und Proportion der fünft Seulen, 1593-1598, etching on laid paper, plate size 248 x 183 mm (9 3/4 x 7 1/4 ins), window-mounted, framed and glazed, plus other engravings including six maritime battle scenes by Jacques Callot (1592-1635), three of which from the l'Île de Ré series, unframed, and two others various, framed and glazedQTY: (13)

* English School. Portrait of a Woman, early 19th century, oil on canvas, portrait of a woman wearing a pink dress with sheer, billowing sleeves, and holding a sheet of manuscript music in her hands, canvas size 77 x 57 cm (30 1/4 x 22 1/2 cm), in a deep gilt wood frame (94 x 80.5 cm)QTY: (1)

* Pichler (Giovanni, 1734-1791 ). A collection of 130 plaster cameo intaglios presented in two wood cases, Rome, early 19th century, 130 white plaster intaglios or impronte miniature impressions in relief of portraits, ancient gems, cameos, coins and medals, each bordered with pale yellow paper, manuscript number and edged in gilt, various sizes, generally between 2 and 5 cm (a few with some slight dust-soling), small label at head of each frame with 'Opere di Gio. Pichler' in manuscript, mounted on lining paper in two contemporary glazed wood frames (frames rubbed, one lacking part of top of frame to the reverse), frame size 35 x 22.5 cmQTY: (2)NOTE:A fine collection of early nineteenth-century plaster intaglios, probably by Luigi Pichler (1773-1854) after gem designs by his half-brother Giovanni Pichler (1734-1791) and father Anton Pichler (1697-1779).The cameos depict a range of subjects including classical mythology, Greek and Roman gods, emperors, sports, art history and sculptures, and were highly popular among travellers, especially from England on the Grand Tour during the early part of the nineteenth-century.The subjects present include a discus-thrower, the Three Graces, St. George and the Dragon, Apollo, a charioteer among others.

* Gill (Eric, 1882-1940). Monogram for Betty Rothenstein, 1921, black ink on pale cream wove paper, manuscript monogram with calligraphic inscription within the letters BR, inside the two letters inscribed 'November 7th 1921 / from Eric Gill' and remaining letters 'etty Rothenstein' down the central column of the monogram, image size approx. 6.5 x 10 cm (2 1/2 x 4 ins), sheet size 17.8 x 26 cm (7 x 10 1/4 ins), unframedQTY: (1)NOTE:Elizabeth 'Betty' Rothenstein (1905-1989) was the daughter of Sir William Rothenstein and the actress Alice Mary Knewstub. Betty was one of four children, her siblings being John, Michael and Rachel. The Rothenstein children maintained numerous connections with Eric Gill, he drew or etched portraits of John and Rachel. John Rothenstein also published a monograph of Eric Gill in 1927.

* Hawke (Marjorie, 1894-1979). Village in Moonlight, oil on canvas, signed 'Hawke' lower left, use of impasto, manuscript label with title and artist to verso, James Bourlet & Sons Ltd. label to verso, some small areas of craquelure and paint loss, canvas size 40.5 x 51 cm (16 x 20 ins), framed (54 x 63 cm) QTY: (1)NOTE:Draughtsman and painter in oil, born in London. She studied at Heatherley’s, the Central School of Arts and Crafts and the Westminster School of Art, under Bernard Meninsky. Her work found its way into many private collections in Britain and abroad from mixed exhibitions at Leicester Galleries, O’Hana and galleries in Greece, France and Italy. Her single artist shows included Bear Lane Gallery, Oxford, and the Rotunda Gallery (David Buckman, Artists in Britain Since 1945, 2007).

AR * Kelly (Gerald Festus, 1879-1972). Burmese Dancer, oil on canvas, study of a Burmese dancing girl in a yellow costume (almost certainly Ma Seyn Me), with original patterned cotton lining to verso (probably by the artist), to which is attached a typewritten autograph letter from the artist to Christina Foyle, dated 3rd December 1964, 44 x 29 cm (17 1/4 x 11 1/2 ins), framed and glazed (49.5 x 35 cm)QTY: (1)NOTE:Provenance: Christina Foyle (1911-1999): Christopher Foyle (1943-2022).The letter attached to the verso is addressed in ink manuscript to Dear Christina [Foyle] and reads, "...It occurs to me that you might like to have a sketch by me. I have given most of my friends one, and I count you as one of them. To do this you would have to come and have a look at what I've got, and choose the one that would amuse you...". It is signed in ink manuscript Gerald K. Gerald Kelly spent many years in Burma, where the actress and dancer Ma Seyn Me was one of his favourite models. Kelly travelled to Burma in 1908 after a failed love affair, and was inspired by the beautiful Burmese dancers whom he made the subjects of a series of exotic and enigmatic paintings. Ma Seyn Me in particular, who he described as, "... gay and full of zestful life", appeared in his paintings for many years.

* Miers (John, 1756-1821). Portrait of John Foxcroft, circa 1785, oval head and shoulders silhouette portrait, painted in black on plaster, profile to right, somewhat scratched, verso with original artist's label “Perfect Likenesses in miniature profile, taken by J.Miers, LEEDS, and reduced on a plan entirely new ...", mount aperture 85 x 70 mm (3 3/8 x 2 3/4 ins), period ebonised wood frame with inset oval gilt metal surround, and hanging loop, glazed, frame verso with clear plastic cover taped at edges, and 20th century ink manuscript label detailing the sitter, overall size 15 x 12.5 cm, together with English School, Portrait of Eliza Talbot (c.1768-1855), circa 1790, oval head and shoulders portrait miniature, watercolour on paper, few light foxing spots, very slightly cockled, verso with later pencil annotation '...Eliza Talbot afterwards Mrs Lister Kaye', mount aperture 85 x 68 m (3 3/8 x 2 5/8 ins), period ebonised wood frame with inset oval gilt metal surround, and hanging loop, glazed, verso with mordern card covering, overall size 15 x 12.25 cm, plus another oval head and shoulders silhouette portrait, early 19th century, painted in black, grey and blue on paper, of a fashionable lady in a bonnet, profile to right, mount aperture 85 x 70 mm (3 3/8 x 2 3/4 ins), verso with partly illegible pencil annotation 'Polly Bertroot'?, period framed and glazed (as above), overall size 15 x 12 cmQTY: (3)NOTE:Provenance: The Robertson-Glasgow family of Hinton Charterhouse, by descent. These items have all remained within the same family from the time they were produced, some 242 years.John Foxcroft, born in 1757, was the son of Edward Foxcroft, and brother to Eliza and Frances.Eliza (born Elizabeth) Talbot was the daughter of Colonel Richard Talbot, and his wife Margaret (nee O'Reilly), 1st Baroness Talbot of Malahide, Dublin. Eliza first married George Waters Mellifont in 1796, and then in 1844 she married Ellis Cunliffe-Lister-Kaye (his third wife).

* Attributed to Cornelius Beris Durham (1809-1884). Major Robert Martin (circa 1782-1855), late of the Ceylon Rifles, 1827, fine oval head and shoulders portrait miniature, watercolour heightened with white bodycolour, on ivory backed with paper, frame and backing card versos with extensive near contemporary ink manuscript inscriptions detailing the military career of the sitter, and his address: 4 Prospect Terrace, Douglas, Isle of Man, together with A Junior Officer in the British Army, probably the son of Major Robert Martin, 1840, fine oval head and shoulders portrait miniature, watercolour heightened with white bodycolour, on ivory backed with thin card (now detached), the card with contemporary ink manuscript 'Cornelius Durham, 100 Strand, London, May 1840', plus Portrait of a Young Girl, probably the daughter of Major Robert Martin, circa 1840, fine oval head and shoulders portrait miniature, watercolour on ivory backed with thin card, portraying a young girl in a blue-green dress with large puffed sleeves, frame apertures 71 x 57 mm (2 3/4 x 2 1/4 ins), uniformly framed in period wood frames with inset oval gilt metal surround, and hanging loop, glazed, some losses to frame edges, each 15 x 12.5 cmQTY: (3)NOTE:Major Robert Martin: The inscription on the frame verso reads: This portrait was taken in 1827 when the Major was 45 years of age, he died 20th June 1855 age 73 at 6.30am, 4 Prospect Terrace, Douglas, Isle of Man.The inscriptions on the backing card verso read: Major Robert Martin late of the "Ceylon Rifles", 49 years in H.M. Service, Ensign "The Loyal Nottingham Fencibles" 2nd June 1801, Ensign 62nd Regiment 15th August 1804, Lieutenant 62nd Regiment 28th March 1805, Captain 62nd Regiment 21st November 1816 ... Major "Ceylon Rifles" [on reduction] 1847, Retired from the Service 1849, Campaign in Egypt - 8 years in the Field in Sicily - Taking of Genoa 1814 - Two Campaigns in America and the taking of Castine & its dependencies on the river Penobscot. India, China and stationed at every British Colony except Australia.Ivory Act 2018 self-declaration submission reference: PX4GRRPX.

* Rodbard (H., late 18th-early 19th century). Anne Sarah Rodbard, 1803, watercolour with coloured chalks on paper, heightened with touches of white bodycolour, a half-length portrait in profile, of a young woman in a white dress, signed and dated lower left, some faint foxing spots (mainly to left edge), oval mount aperture 203 x 165 mm (8 x 6 1/2 ins), gilt framed and glazed (36 x 31 cm), verso with attached 20th century ink manuscript label detailing the sitterQTY: (1)NOTE:Provenance: Robin Robertson-Glasgow of Hinton Charterhouse, by descent (great-great-great grandson of Anne Sarah Rodbard, d.1857).This work has remained within the family of Anne Sarah Rodbard since it was made by H. Rodbard, some 221 years. In 1804, the year after this portrait was taken, Anne married James Talbot (1767-1850). After James gained his Batchelor's degree from Trinity College, Dublin in 1788, he joined the diplomatic service and for several years was involved in highly sensitive and covert activities on the continent. He and Anne had 13 children together, living initially in France and Italy, before moving back to Anne's family home at Evercreech House, Somerset. When his brother died in 1849, James became the 3rd Baron Talbot of Malahide (near Dublin, Ireland), and Anne was then styled as Baroness Talbot of Malahide.

* Spanish Colonial School. Virgin Mary and Infant Jesus, early to mid 18th century, oil on leather, depicting the Virgin Mary carrying the infant Jesus and holding a small cross, with Joseph kneeling to one side, holding a long-shafted cross with a white banner reading Ecce Agnus Dei, standing on the other side is a figure in brown robes, probably St. Francis of Assisi, displaying the stigmata on his hands, a decorative part-circular border to each corner, the leather surface with blind tooled and sgraffito decorations and design features, faded, creased and rubbed, some blind tooled areas have worn though, producing a few small cracks and losses, faint old ink inscription in Spanish to verso, frame aperture 320 x 295 mm 12 5/8 x 11 5/8 ins), gilt frame (some damage, 41.5 x 39 cm), frame verso with ink manuscript number 2089QTY: (1)NOTE:Provenance: Sidney J. A. and Stella Churchill (1862-1921): Ruth Plant (daughter): Juliettte Petty of Bristol (granddaughter).Sidney Churchill was a well-travelled British diplomat who also became a connoisseur of art. He was British Consul in Persia (1886-1894), then in Surinam and French Guiana (1894), before moving back to Europe, where he continued working in Italy and later in Portugal.

* Sihlali (Durant Basi, 1935-2004). No 5 Shaft - Durban Deep, 1975, watercolour on paper, signed and dated lower right, mount aperture 525 x 741 mm (20 3/4 x 29 1/8 ins), framed (75 x 95 cm), together with Rainy Day at Zola, 1974, watercolour on paper, signed and dated lower right, mount aperture 400 x 289 mm (15 3/4 x 11 3/8 ins), framed and glazed (54.5 x 43 cm), ink manuscript title on frame backing paper, plus A family scene, watercolour on paper, depicting a couple with a young child, the woman sitting weeping, signed lower left, mount aperture 538 x 378 mm (21 1/8 x 14 7/8 ins), framed and glazed (71 x 54.5 cm)QTY: (3)NOTE:Durant Basi Sihlali was born in Germiston, South Africa. He studied first at the Moroko Chiawelo Centre (1950-1953) and then until 1958 at the Polly Street Art Centre, where he was taught by Cecil Skotnes. Sihlali was Head of Fine Arts at the Federated Union of Black Artists (Fuba) from 1983 until 2004. He exhibited in Beverly Hills, Nuremberg, Palermo and Athens. His painting No 5 Shaft - Durban Deep was later reproduced as a lithograph.

Music: Johann Strauss, Les Fusees Volantes, Introduction, Allegro Vivace, hand written manuscript copy of a section of music, possibly by the composer, framed

A collection of Medieval illuminated vellum manuscript pages, mostly French 15th Century or earlier, many with gilt and polychrome lettering, including Biblical and Book of Hours subject, mounted (9)

An Arts & Crafts illuminated manuscript, 'Yestreen I Gathered Roses Three.....', watercolor and ink on vellum with profuse Celtic Entrelac decoration surrounding the text, monogram D.M.W l.r., 25 by 19cm, framed

A fragment of a Medieval illuminated manuscript, 15th Century, comprising capital letters of various types and complexity form the remains of two pages of a missal, probably English, on vellum, 9 by 9cm, framed

Masonic Certificates - Major General Terry and others - A collection of 25 scarce certificates, mostly 19th century and for Higher Grades of Masonry, including 2 certificates for Military Lodges in Pietermaritzburg 1880. Astley fellows Terry served in the King's Royal Rifle Corps in the Zulu War of 1879 and East Griqualand in 1880. He retired in 1887.Together with manuscript Minutes of the Sussex Club Lodge of Instruction held at the new Sussex Hotel, Norbury 1938 - 40 with names and addresses of members.