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NEWCASTLE DUKE OF: (1693-1768) British Prime Minister 1754-56, 1757-62 & NORTH LORD: (1732-1792) British Prime Minister 1770-82. North led Great Britain through most of the American War of Independence. A good D.S. by both the Duke of Newcastle ('Holles Newcastle') and Lord North ('North') individually, one page, folio, Whitehall Treasury Chambers, 29th June 1759. The manuscript document is addressed to the Commissioners of His Majesty's Customs in Scotland and approves the application of John Taylor, a Landwaiter and Searcher at Port Glasgow, to be absent from his duty for three months, also directing 'that no deduction shall be made from the salary of the said John Taylor on account of his absence during that time provided you have no objection thereto'. Also countersigned at the foot by Robert Nugent (1709-1788) 1st Earl Nugent. Irish politician & poet, Lord Commissioner of the Treasury 1754-59. Some very light, extremely minor age wear and a small tear at the centre, neatly repaired to the verso and not affecting any of the signatures. About VG

CAUSLEY CHARLES: (1917-2003) English poet. T.L.S., Charles Causley, with five lines of holograph text, two pages, 8vo, Launceston, Cornwall, 18th June 1974, to David Godine. Causley thanks his correspondent for their ´marvellously exciting letter about the Collected Poems´ and continues to remark ´I´m delighted to know you will be doing them, and the splendid catalogue you sent I´ve been carrying round with me ever since, and practically know it by heart. You´ve certainly done some wonderful books - confidence has been inspired (not that I ever doubted it for a second) that you´ll do a terrific job of production´ further discussing the possibility of woodcut illustrations and mentioning the artists David Gentleman, Michael McCurdy (´tremendously impressive´) and Gillian Tyler, and also writing of other work and poets, ´I wrote a 3-mile letter on Sunday with a lot of textual corrections (punctuation mostly - we´re trying to unify the mode of punctuation, means of expressing speech etc. throughout the collection). then drove to the coast & spent the evening with an old friend - John Betjeman - who was (a) gloomily going thro the galleys of his new collection (it´s good), & (b) Very interested in the Godine Causley. Encouraging!´. Together with a typed manuscript, unsigned, of Causley´s introduction to Those First Affections edited by Timothy Rogers, five pages (plus title page), folio, Launceston, Cornwall, n.d. (1979), with a few holograph additions, corrections and deletions. VG, 2

FAMOUS MEN & WOMEN: A good selection of A.Ls.S. by a variety of famous French men and women, most associated with the arts during the 19th century, including Tony Johannot (regarding the colourisation of an illustration), Joseph Thierry (a brief letter passing on the thanks of a friend to his brother), Adrien Dauzats (a lengthy letter announcing his imminent return to Paris after an exile in a cold, grey country, where he studied monuments for a long time but never conquered them), Philbert Rouviere (a good original signed self-portrait in pencil, with a brief quotation from William Shakespeare´s Hamlet), Henry Monnier (referring to a proposal from the publisher Dentu which he finds excellent), Charles Odry (manuscript receipt for four performances, 1841), Jean-Baptiste Provost (announcing that he will be absent for the next hunt, as he is on holiday in Switzerland), Charles-Edme Vernet (stating that he will leave the troupe des Varietes), Augustine Susanne Brohan (agreeing to an appointment for her daughter), Francois Desnoyer (two letters to the French artist and designer Christian Berard, in one making a reference to Berthe Weill´s gallery and the other written during the German occupation), Auguste Feyen-Perrin (two letters, one most probably written to the sculptor Ludovic Eugene Durand), Jacques Ibert (to the French librettist Albert Willemetz, 1953), Georges Ohnet (acceding to the request of a colleague), Pierre Puvis de Chavannes (brief letter to Edouard Dubufe regarding a general meeting), Jules Ziegler (regarding the cost of sewage works at Voisinlieu where Ziegler had established a sandstone vase factory) etc. Some light age wear and a few minor faults, generally G to VG, 26

LOUIS XIV: (1638-1715) Also known as Louis the Great or The Sun King. King of France 1643-1715. Son of Louis XIII. His reign of more than 72 years is the longest recorded of any monarch in European history. An extremely rare Autograph Letter Signed, `Louis´, two pages, 8vo, n.p. [Versailles], `A 10 heures´ ("At 10h"), in French. The King has received a courier from Spain he was waiting for and is in hurry to check what has arrived. The full manuscript letter, boldly written in the King´s hand, in his childish way, with corrections, states in full `Il est arrivé d´Espagne un courier que nous cherchont. J´ay pris tous nos paquets et je les ay ouvers, je n´ay fait que les parcourir, il me paraist qu´il n´y a rien de si considerable que je croiais, personne n´a vu nos lettres que moi même, et ce soir je veux me rendre compte de ce qui sera le plus considérable que je n´ay pu voir si precipitament´ (Translation: "A courier arrived from Spain that we were looking for. I took all our packages and opened them, I only looked through them, it seemed to me that there was nothing as important as I thought, no one saw our letters except myself , and this evening I want to realize what will be the most considerable that I was not able to see so hastily") With blank integral leaf. G to VG

BELLOW SAUL: (1915-2005) Canadian-American writer, Nobel Prize winner for Literature, 1976. D.S., Saul Bellow, two pages, 4to, n.p., 10th March 1989. The partially printed document, completed in typescript, is a Memorandum of Agreement between Bellow and the publishers Arnoldo Mondadori Editore of Milan, in which the author grants to the publishers the exclusive license to publish an untitled novella in an Italian translation, further stating that the publishers ´agree to publish the said work in a faithful and accurate Italian translation within 12 (twelve) months of the date of delivery and to make payment to the Author as follows: An advance of one hundred ten thousand U. S. Dollars (U.S. $110, 000), payable one-half on signing of this agreement and one-half on delivery of the manuscript on account of the following royalties and against all earnings from subsiduary rights granted to the Publishers under this agreement´ and continuing to outline the various royalty payments and other stipulations including Bellow receiving four free copies of the book on first publication. Signed by Bellow at the conclusion and countersigned by a representative of the Italian publishers. Also initialled by both at the foot of the first page. A few small staple holes to the upper left corner of each page and with some light overall creasing, about VGBellow published two novellas in 1989, A Theft and The Bellarosa Connection.

CAMUS ALBERT: (1913-1960) French Author and Philosopher. Nobel Prize winner in Literature, 1957. A very good A.L.S., `Albert Camus´, one page, 4to, Cabris, Alpes Maritimes, 30th January, n.y., [1951], to a Novelist, in French. An interesting letter by Camus, who is ill and recovering after his return from south-America, giving his opinion and advice to a novelist who asked for his opinion, stating in part `J´ai pris beaucoup de plaisir à lire votre livre. Il y a là-dedans sous une forme volontairement modeste beaucoup d´intelligence et de sensibilité... Je ne vous chicanerai que sur quelques négligences de forme que j´ai d´ailleurs, avec une prétention qui ne s´excuse que par l´intérêt que je vous porte, soulignées dans votre manuscrit. Je crois aussi que vous auriez avantage à supprimer les grossièretés de langage, qui sont à la mode, mais qui jurent avec la pudeur profonde de votre livre. Ceci dit, je suis disposé à faire ce que vous demanderez. Désirez-vous que je vous aide à le publier? Je m´y emploirai malgré mon éloignement de Paris et il se peut que je réussisse.´ (Translation: "I really enjoyed reading your book. There is in this, in a deliberately modest way, a lot of intelligence and sensitivity... I will only quibble with you about a few formal negligences that I have, moreover, with a pretension that can only be excused by my interest in you, highlighted in your manuscript. I also believe that you would benefit from removing the crude language, which is fashionable, but which clashes with the profound modesty of your book. That said, I am willing to do whatever you ask me to do. Would you like me to help you to publish it? I will work on it despite my distance from Paris and I may succeed.") Camus further explains what is his own situation, saying `... à mon retour d´Amérique du Sus, j´ai dû garder le lit pendant deux mois et je suis ici, en traitement, pour de longues emaines encore...´ (Translation: "When I returned from South America, I had to stay in bed for two months and I am still here, undergoing treatment, for many more weeks...") Very small overall minor age tone due to a former framing, otherwise G to VG

SNODGRASS W. D.: (1926-2009) American poet who won the Pulitzer Prize for Poetry, 1960. T.L.S., W. D. Snodgrass, one page, 4to, Erieville, New York, 19th April 1976, to Stephen Brook. Snodgrass thanks his correspondent for their kind letter enquiring ´about the possibility of a chapbook manuscript´ and continues to remark ´Unfortunately the only thing which I had on hand which might be suitable for such a chapbook was placed with another publisher before I received your letter. I will, however, hold your series in mind.....´. VGStephen Brook (1947- ) English author and wine journalist, a former editor of The Atlantic Monthly Magazine and publisher at Routledge, Kegan & Paul from 1976-80.

LOUIS XII: (1462-1515) King of France 1498-1515 and King of Naples 1501-04. D.S., Loys, one page (vellum), oblong folio, Orleans, 15th December 1499, in Middle French. The manuscript document is addressed to Jehan Lalemant, receiver general of finances in the Duchy of Normandy, and is a warrant to raise the sum of thirteen thousand one hundred and eighty-eight livres fifteen sols turnois from grain collectors and farmers, commencing on the 1st January, in order to make a payment to Jacques Petremot which has been committed to by the exchequer and further giving instructions for the amount to be allocated within the accounts. Signed by the King at the foot and countersigned by Hobineau. A large portion of the lower right of the document has been neatly excised. A few heavy creases, one just affecting the signature, and some light overall age wear and dust staining, G

[RMS TITANIC]: WIDENER GEORGE (1861-1912) American businessman who died in the sinking of the RMS Titanic. D.S., Geo. D. Widener, two pages, oblong 4to, Philadelphia, 28th January 1895. The attractive red printed document, completed in manuscript, is a stock certificate certifying that W. G. Huey & Co. are entitled to one hundred shares of capital stock in the Philadelphia Traction Company. Numbered 15074 and signed by Widener at the base in his capacity as president of the company. Also bearing a countersignature, the two both slightly affected by two small cancellation cuts. With the completed details of the transfer of the shares to the verso. Some light staining and minor creasing, about VG

LOWE HUDSON: (1769-1844) Anglo-Irish soldier and colonial administrator who served as Governor of Saint Helena 1816-21 where he was the 'gaoler' of Emperor Napoleon. D.S., H: Lowe, M: General, two pages, folio, Marseille, 14th July 1815. The manuscript document represents a set of accounts, being the ´Return of 200 days Bat, Baggage & Forage money for the Royal Marine Battalion attached to the force under the command of Major General Sir Hudson Lowe from the 13th February to 31st August 1815´, listing the various relevant amounts of each allowance for one Major, three Captains, six Subalterns, one Adjutant, one Quarter-Master, one Assistant Surgeon and two absent Captains, all of whom are listed by name to the second page, totalling 311.5.0 Pounds Sterling. Signed by Lowe at the foot with an autograph minute indicating his approval of the document, and countersigned by Major Charles Pratt. Some light age wear and a few small tears to the edges, and with a thin strip of staining to the edge of the second page, evidently caused by previous mounting. About VGLowe served as Quartermaster-General of the army in the Netherlands from 1814-15 and was about to take part in the Belgian campaign when he was offered the command of the British troops at Genoa; however while still in the south of France he received (on 1st August 1815, shortly after signing the present document) news of his appointment to the position of custodian of Napoleon, Emperor of the French, who had surrendered to HMS Bellerophon, off Rochefort.

PAGNOL MARCEL: (1895-1974) French film director, novelist and playwright. Autograph Manuscript, unsigned, one page, 4to, n.p., n.d. (either 1936 or 1946), in French. The single page of manuscript represents dialogue from Pagnol´s Cesar between the characters Cesar Ollivier, Adelbert Brun (a retired customs agent), Honorine Cabanis and Claudine Foulon, and states, in part, ´L´Agent (ret) J´ai deja entendu cette expression. A la rue Audimard, ce sont les Pompes Funebres. Cesar Qu´est-ce que vous faites ici, vous? L´Agent J´etais venu pour affaires...j´apprends la nouvelle, et je compatis... Cesar Merci pour lui. (aux autres) En tous cas, s´il plaisante, c´est qu´il va mieux... Honorine C´est pas ce que le docteur a dit. Cesar Felicien est venu? Claudine Il vient a peine de partir...´ (Translation: ´Agent (ret) I've heard this expression before. On rue Audimard, it's the Pompes Funebres. Cesar What are you doing here? The Agent I came here on business... I've just heard the news, and I'm very sorry... Cesar Thank you for him (to the others) In any case, if he's joking, he must be feeling better... Honorine That's not what the doctor said. Cesar Has Felicien come? Claudine He's only just left...´). Annotated in ink in an unidentified hand to the lower edge. Some light overall creasing and a few small tears to the edges, GThe French film Cesar (1936) was written and directed by Pagnol and represents the final instalment of his Marseille trilogy which began with Marius (1931) and was followed by Fanny (1932). Unlike the two other films in the trilogy, Cesar was not based on one of Pagnol´s plays, but written directly as a film script. In 1946 Pagnol adapted the script as a stage play. In the film version Cesar Ollivier, a bar owner, was played by the French actor Raimu, Adelbert Brun by Robert Vattier, Honorine Cabanis by Alida Rouffe and Claudine Foulon by Milly Mathis.

ROUSSEAU JEAN-JACQUES: (1712-1778) French Writer and Philosopher. A very interesting autograph manuscript, one page, 4to, n.p., [Paris], n.d. (c.1745), in French. The page manuscript, in Rousseau's hand, refers to a passage from the Code of Justinian in support of women´s rights and is from his unpublished work relating to the history of women and laws which he prepared between 1745 and 1751 for his benefactress Louise Marie Madeleine Dupin, born Fontaine. Rousseau writes his text in the right column of the page, the left reserved for additional notes where he annotates the provenance of the text `Novel: Const: 87 art. 333´, referring to the “Novellae Constitutiones”, the Code of Emperor Justinian, Rousseau stating in part `Si la femme ou un autre pour elle a promis la dotte, qu´ils ayent offert de la payer et que par la négligence du mari elle n´ait pas été reçue, il faut à la dissolution du mariage par mort ou autrement, que la dotte soit censée avoir été reçue. De sorte que si la femme a quelque chose à prétendre par don avant les noces, elle est en droit de l´exiger, quoiqu´elle n´ait point délivré de dot, parce qu´il n´a tenu qu´au mari de la recevoir…´ (Translation: “If the wife or another person on her behalf has promised the dowry they have offered to pay it and if through the negligence of the husband it has not been received, it is necessary for the dissolution of the marriage by death or otherwise, that the dowry is deemed to have been received. So that if the woman has something to claim by gift before the wedding, she is entitled to demand it, although she has not delivered a dowry, because it was only up to the husband to receive it…”) Small overall age wear, mostly to edges, otherwise G At the time Rousseau wrote these pages, between 1745 and 1751, he was working as secretary to his benefactress Louise Marie Madeleine Dupin.

LOUIS XV: (1710-1774) King of France 1715-74. A rare and interesting full manuscript letter in the hand of the King, A.L.S. `Louis´, one page, 4to, Compiegne, 21st September 1766, to Ferdinand Duke of Parma, in French. The King states `Mon petit fils, est-il vrai que le Prince de Brunville ressemble à votre pauvre père, je le croirais assez par ses portraits, et par tout ce qu´on m´en a dit. J´ai encore eu un bon rhume, mais il va mieux depuis que j´ai pris du petit lait pendant deux jours... L´été nous est revenu, et j´ai eu plus chaud hier à la chasse que je n´en avais encore eu de cette année, cela fera grand bien à la vendange´ (Translation: "My grandson, is it true that the Prince de Brunville resembles your poor father, I would believe it from his portraits, and from everything that I have been told about him. I had a bad cold again, but it's better since I took whey for two days...Summer has returned to us, and I was suffering the heat yesterday while hunting more than I have been earlier this year, it will do a lot of good for the harvest...") Further Louis XV announces his immediate travelling plans, saying `Nous partons tous d´ici dans le courant de cette semaine, ainsi ma précieuse lettre sera datée de Versailles...´ (Translation: "We are all leaving here during this week, so my precious letter will be dated from Versailles...") To a postscriptum at the base of the letter Louis XV states `Nous eumes hier une belle cérémonie qui est celle de l´ordination qui fut faite par l´év[êque] de Soissons dans la chapelle, il y avait vingt-neuf ordinants´ (Translation: "Yesterday we had a beautiful ceremony which was that of the ordination which was carried out by the Bishop of Soissons in the chapel, there were twenty-nine ordinants") With blank integral leaf. Bearing to the verso the addressee in the King´s hand `A mon frere, et petit fils Ferdinand infant d´Espagne, duc de Parme et de Plaisance´, also bearing a very attractive royal crowned red wax seal in fine condition. VG Ferdinand I (1751-1802) Duke of Parma and Piacenza 1765-1802. Grandson of King of Spain Philip V

PREVOST MARCEL: (1862-1941) French Author. A good set of four documents comprising an autograph manuscript, eight pages, 8vo, being his speech at the French Academy when he was appointed Academician. Together with A.L.S., Marcel Prevost, one page, 8vo, bearing an ink stamp from his own library, being a fourteen verses poem entitled Sonnet sur une épure, a youth work by Prevost stating `..Vois ce joli contour, cette ligne si pure, - Le point rond s'unissant au trait fin continu, - Vois le commun solide ombré comme nature - Par le raisonnement dans les airs soutenu..´; Also including A.L.S., Marcel Prevost, on a postcard showing to the front an image his property of Chateau de la Roche. Also including an original 3 x 5 unsigned cabinet photograph depicting Prevost in uniform during WWI. G to VG, 4

PINSKY ROBERT: (1940- ) American poet, eassayist, literary critic and translator, United States Poet Laureate 1997-2000. Small selection of three T.Ls.S. and an A.L.S., Robert Pinsky, each one page, 4to, Wellesley, Massachusetts, June - August 1974, to the publisher David R. Godine and the editor Stephen Brook. Pinsky writes concerning his work in the early years of his poems being published, in part, ´I have written a long and strange poem called "Essay On Psychiatrists" which I would like to submit for consideration as a pamphlet or short chapbook. Other poems by me have been published in American Review......I am enclosing an extra xerox copy of my book-manuscript, Sadness And Happiness, in case you are curious what the rest of my work is like´ (14th June 1974), ´In relation to my long poem "Essay On Psychiatrists" which I submitted to you a week ago, I would like to add that Richard Howard ´phoned me the other day to say that he has read the poem, likes it a lot - - and would want to write an introduction-commentary for it, if it should be accepted, and if such accompanying prose material seems suitable....Since I have ventured to try to help my chances with such support, I will add that Stanley Kunitz also has read the "Essay" and offered his (unsolicited) opinion that it should be published as a chapbook. I hope that the act of giving these supplementary "references" does not seem too pushy´ (21st June 1974), ´Your letter about Essay On Psychiatrists crossed my letter in the mail. Thanks for acting so quickly (anyway), and for the attentive words. You seem receptive enough to the poem that there just might be a chance that the accompanying essay by Richard Howard would make the whole a more attractive undertaking - pushed over the border of acceptance by some prose by a well-known writer explaining how the poem (or whatever it is) works. If you would like another look at it with that in mind, do let me know!´ (26th June 1974), ´I am very pleased that you are interested in having another look at my Essay On Psychiatrists. After speaking with you on the telephone yesterday, I ´phoned Richard Howard, who remains quite eager to write a prose piece on the poem. It seems quite unlikely that he will submit any kind of sample, however. On the other hand, should you decide to publish the poem, if you tell him what length is suitable for the book, he will write his essay accordingly. He also asked me to convey that he will not expect to be paid´ (1st August 1974). Also including a carbon typed copy of a letter from Brook to Pinsky dated 12th August 1974, reluctantly declining to publish Essay On Psychiatrists and explaining at length his reasons behind his decision. VG, 5Stephen Brook (1947- ) English author and wine journalist, a former editor of The Atlantic Monthly Magazine and publisher at Routledge, Kegan & Paul from 1976-80.Richard Howard (1929-2022) American poet, literary critic and essayist.

MARCEAU FRANCOIS SEVERIN: (1769-1796) French General who served in the French Revolutionary Wars and was immortalised in Lord Byron's Childe Harold's Pilgrimage. An extremely rare manuscript D.S., F Marceau, one page, oblong 8vo, Headquarters at Fontaine-l'Eveque, 20th May 1794, in French. Marceau heads the document with the words Egalite, Liberte, Revolution and continues to provide an order, in full, 'Il est ordonne au garde-magasin de ramasser autant de fourrage qu'il se pourra pour le distribuer aux troupes de la Republique. Il voudra bien designer le lieu ou il aura etabli ce magasin et en faire part au general Bardy' (Translation: 'The storekeeper is ordered to collect as much fodder as possible to distribute it to the troops of the Republic. He will be kind enough to designate the place where he will have established this store and to inform General Bardy of it'). Autographs of Marceau are extremely rare in any form as a result of his untimely death at the age of 27 having received a mortal wound during the Battle of Limburg. Some light age wear and a few minor tears to the slightly uneven edges. About VG

GEORGE V: (1865-1936) King of the United Kingdom 1910-36. D.S., George R. I., as King, at the head, two pages, folio, Court at St. James´s, 27th April 1915. The partially printed document, completed in manuscript, is addressed to the Governor of Liverpool prison and is a remission document relating to Fadlo Chamlati who ´was, at the Police Court, Liverpool, on 25th March 1915, convicted of an offence under the Alien´s Restriction Order and sentenced to six months´ imprisonment´, continuing to state that the King, ´in consideration of some circumstances humbly represented to Us are graciously pleased to extend Our Grace and Mercy unto the said Fadlo Chamlati and to pardon and remit unto him three months of the sentence passed on him´ and that Chamlati should be discharged out of custody accordingly. Countersigned at the conclusion by John Simon (1873-1954) 1st Viscount Simon. British politician who served as Home Secretary 1915-16, 1935-37. With blank integral leaf (some staining to the verso). Some light age wear, otherwise VG

SHAW GEORGE BERNARD: (1856-1950) Irish playwright, Nobel Prize winner for Literature, 1925. An interesting Typewritten Manuscript Signed (twice, 'By Bernard Shaw' beneath the title, and again with his initials G.B.S. at the conclusion), nine pages (typed to the rectos only), 4to, n.p., 27th January 1923. The manuscript, with extensive revisions and corrections in Shaw's hand (indicated in bold text below) is entitled The Unprotected Child and The Law, and states, in part, 'It is a curious feature of British civilization that our police arrangements, though they enable the adult male citizen to go about unarmed and the adult female to walk abroad unescorted, fail to protect children from the most detestable forms of molestation. The woman who goes shopping with a sense of complete security, and never has a moment's anxiety as to the return of her husband from his work unrobbed and unbruised, cannot feel that her children, even at the smallest age compatible with independent locomotion, are safe in broad daylight in a London park, much less in the camera obscura of the picture theatre......When she realizes too late that the law, professing to deter the criminal, is really calculated to deter the prosecutor, she is sometimes moved to suspect that this effect is not wholly unintended. There is something more than motherly indignation to support that suspicion. The few publicly articulate people who concern themselves about the matter, and who form the so-called public opinion that finds expression on the bench, seem to fall into two extremes with no middle. Either they are psychopathically excited by psychopathic outrages and frantically demand that the offenders be flogged or emasculated, or they regard the offence as an amiable weakness, and the notion that its consequences to the victim are necessarily serious as sentimental nonsense. They shew their reluctance to punish it by very light sentences, and by a resolute opposition to the raising of the age at which the consent (and by inference the enjoyment) of the child can be placed in defence. Thus between the flagellomaniacs who are making the offender's vice an excuse for gratifying their own peculiar form of it on the one hand, and the sympathetic amorists on the other, the children have to thank their luck rather than the law when they escape molestation. The matter is further complicated by men's dread of false charges, blackmail, and conspiracies between mother and child to 'put away' an inconvenient father.......Sir Basil Thompson......humorously suggests that all girls should be locked up until they are eighteen to save the police the trouble of investigating the stories they invent.....In fact the younger the child the more unrestrained the imaginative liar. Further differences between child and child in precocity are so inclaculable that we have Oscar Wilde giving sixteen as the age at which conscience of sex begins, and Rousseau, in his autobiography, giving the date in his own case at his birth: the net conclusion being that in the case of any individual child it is impossible either to accept any story on the ground that the teller is too young to have invented it, or to reject it as too grotesque to be credible......In view of these facts, it is impossible to exempt a child from the most searching cross examination when criminal proceedings are taken; yet from every point of view other than that of establishing or refuting a charge, cross examination is as undesirable as its necessarily bad effect on the child can make it. In short, the remedy offered by the criminal law may easily be worse than no remedy at all. It rubs violently into the child's mind an impression that had much better be obliterated, or, as that is hardly possible, minimized.......The danger to children is at its gravest when popular ignorance and superstition on matters of sex are left undispelled because of the taboo which forbids their being mentioned. Take for example the case of venereal disease. Few people realize that children are in special danger of being infected by it: they regard them as specially exempt from it because of their innocence. They do not know that there is a belief, widespread in our most ignorant classes, that a man suffering from such a disease can be cured by intercourse with a virgin; and that consequently, as childhood is the surest guarantee of virginity. childern are violated as a therapeutical measure, the only result. of course, being that the child is infected too......As far as I know, there is only one attempt being made to provide, by private subscription, a hospital for innocently infected children to which any sane mother would consent to send her child. That staggering fact illustrates the sort of consideration children get from our public authorities and the public conscience behind them......When we come to the remedies, we are forced to admit that what cannot be prevented cannot be remedied. Some of the preventive remedies are obvious enough. Wherever you have overcrowding and overwork both of children and adults, you get a high rate of incest with children as certainly as a high rate of zymotic disease. People who have bedrooms all to themselves as a matter of course, and who have plenty of sport and music and reading and pictures to divert them, cannot conceive a life in which young girls boast of being the mothers of their fathers' children; but this is an established modern industrial phenomenon; and the comfortable people may as well know that it exists and is part of the price of their comfort......If the question of how much population the country can bear is ever faced as it should be, the first point to be settled will be not one of heads per acre divided into wheat per acre, but of space available for separate bedrooms (not to say bathrooms) per head. When incest and promiscuity have been cut off at their source in poverty and drudgery, there will still be an irreducible minimum of criminal assault for which society at large is not responsible. For the decent and as far as possible harmless investigation of such cases we need special courts, women police, women jurors, judges, magistrates, advocates and doctors alongside the male ones, with none of them in any uniform recognizable by a child as a police uniform.....The publication of the child's name, or of portraits of it, should be made a serious offence; and the publication of the name of the accused person unless and until convicted should also be prohibited. There are many things shamelessly featured in our newspapers which are forbidden by French law and should be forbidden in every decent country. I must add that the advocates of complete license for the press have one argument which cannot be ignored.......As to punishments, when they are simply vindictive they are also simply wicked; and their effect on the imagination increases crime......´OWING TO LIMITATIONS IMPOSED BY THE SALEROOM, THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT DE DISPLAYED. PLEASE REFER TO IAA EUROPE DIRECTLY FOR FURTHER INFORMATION. 

RAMOLINO LETIZIA: (1750-1836) Mother of Napoleon Bonaparte. Rare D.S., `Bonaparte Mère´, unusual in this form, three pages, 4to, Ajaccio, Corsica, 1st November 1801, in French. Ramolino has signed the manuscript letter at the base, beneath three handwritten lines in the hand of her brother Cardinal Fesch. The document relates to a credit that Letizia Ramolino endorses to her brother. The document states ´A nome della Republica francese una ed indivisibile. Il citaddino Domenico Salini di questa cittá, cognito constituito & alla presenza di me notaio, e dei testimoni sottoscritti, sponte & ed in ogni miglior modo & per se i suoi eredi, e successori, ha confessato, e dichiarato, siccome dichiara, e confessa di essere vero, liquido, e real debitore della cittadina Maria Lettizia vedova Bonaparte presente, ed accetante me notaio & della somma e partita di lire due mila, e cento al corso di francia da esso prima d´ora avute e ricevute in tanti grossi scudi di francia, piastre, o siano pezze dure di Spagna, francesconi ed altre buone monete... giurando in forma e quindi detto cittadino Salini si obliga e promette rendere e restituire alla detta cittadina Lettizia Bonaparte...´ (Translation: "On behalf of the one and indivisible French Republic. The citizen Domenico Salini of this city, constituted and in the presence of me, the notary, and of the undersigned witnesses, spontaneously and in every best way and for himself his heirs and successors, has confessed and declared, as he declares and confesses to be true, liquid, and real debtor of the citizen Maria Lettizia widow Bonaparte present, and accepting me notary & of the sum and amount of two thousand lire, and one hundred at the French rate received from it before now and received in many large coins of France, or whether they are hard pieces of Spain, Franciscans and other good coins... by swearing in form and therefore said citizen Salini undertakes and promises to return to the said citizen Lettizia Bonaparte....") Signed at the base by the Notary Jean Joseph Pozzo di Borgo. Before Ramolino´s signature, her brother the Cardinal Fesch adds three lines in his hand, and on behalf of his siter states `Io cedo il presente credito tanto per i frutti che per il capitale a mio fratello Fesch che me le ha rimborsati´ (Translation: "I assign the present credit both for the fruits and for the capital to my brother Fesch who has reimbursed it to me") Paper with watermark. Bearing to the bottom left corner a collection stamp of the former and prestigeous Lindesiana collection. Overall age wear, small staining, with small professional repair to the edges and fold. G

GAUGUIN PAUL: (1848-1903) French Post-Impressionist painter. A rare and very interesting lengthy Autograph Manuscript draft article by Gauguin, four pages, folio, n.p., n.d. [late 1889], in French. The draft article is untiltled, although would later be published as "Huysmans et Redon". Gauguin responds in this article to Huysmans's writing on visual arts, stating in part `Huysmans est un artiste, son mouvement d´impulsion se traduit dans une expulsion en littérature. Beaucoup de peintres voudraient être musiciens ou litérateurs. Lui voudrait être peintre. Il l´aime la peinture. A différentes époques des critiques ont paru de lui.... Depuis il s´est fait un grand changement en lui car il a soif d´art et ne craint pas de marcher sur ses erreurs. Nous l´en félicitons´ (Translation"Huysmans is an artist, his impulse movement translates into an expulsion in literature. Many painters would like to be musicians or men of letters. Huysmans would like to be a painter. He loves painting. At different times critics have appeared about him... Since then a big change has taken place in himself because he is thirsty of art and do not fear to walk on his own errors. we do congratulate him for this") Further Gauguin criticises the terms on which Huysmans has written about Odilon Redon and disputing Huysmans's understanding of other artists ancient and modern including Francesco Bianchi, and referring to Rembrandt and Rapahel, states in part `Je ne vois pas en quoi Odilon Redon fait des monstres - Ce sont des êtres imaginaires. C´est un rêveur, un imaginatif.... Voyez l´oeuvre de Rembrandt de Raphael et quelle relation intime entre tous ses modèles femmes et hommes et son portrait...´ (Translation: "I don't see how you can say that Odilon Redon makes monsters - They are imaginary beings. He is a dreamer, an imaginative.... See the work of Rembrandt, Raphael, and what an intimate relationship between all his female and male models and his portrait..."). Further again, Gauguin refers extensively to Gustave Moreau `...Son mouvement d´impulsion est bienloin du coeur, aussi il aime la richesse des biens matériels...´ (Translation "...His impulsive movement is very far from his heart and he loves the richness of material wealth..." and refers also to Puvis de Chavanne with some unconnected notes at the end `Coco de mer - Coco a deux parties qui s´entrouvent comme le sexe femelle d´où sort un énorme fallus qui va se piquer en terre pour germer. Les habitants l´ont considéré lontemps comme le fruit défendu de l´arbre de la science du mal et du bien´ (Translation "...Coconut in two parts which open like the female genitalia, from which emerges an enormous phallus which embeds itself in the earth to germinate. The inhabitants have long considered it as the forbidden fruit of the tree of the knowledge of good and evil") An extremely interesting thoughts by Gauguin, saying in differents parts of his manuscript `...Je veux dire par là que le peintre ne opeut illustrer un livre et vice versa. Il peut décorer son livre oui, y ajouter d´autres sensations qui s´y rattachent... De la laideur - Question brûlante et qui est la pierre de touche de notre art moderne et de la critique.... D´un volcan vous en refroidissez la lave et d´un sang bouillonant vous en faites une pierre. Fût-elle un rubis ...mais on veut des rubis et on les vend aux trafiquants de diamants! En somme Gustave Moreau est un beau ciseleur. En revanche Puvis de Chavannes ne vous sourit pas... La simplicité la noblesse ne sont plus d´époque. Que voulez-vous éminent critique d´art, ces gens là seront un jour de leur époque....´ (Translation: "By this I mean that the painter cannot illustrate a book and vice versa. He can decorate his book yes, add other sensations attached to it... Of ugliness - A burning question and which is the touchstone of our modern art and criticism.... Of a volcano you cool the lava and from boiling blood you make a stone. Was it a ruby...but we want rubies and we sell them to diamond traffickers! In short, Gustave Moreau is a great engraver. On the other hand, Puvis de Chavannes does not smile at you... Simplicity and nobility are no longer of the times. What do you want, eminent art critic, these people will one day be of their time...") A letter of excellent contant and association. Extremely small tears to the bottom edge of the second page, otherwise G to VGIn the present letter, Gauguin criticises the art criticism of the "decadent" critic Karl-Joris Huysmans. These typically combative notes, attacking the taste of the great literary champion of the Impressionists, were written when Gauguin was back in Paris after his fraught sojourn with Van Gogh in Arles, and was beginning to turn his mind to Tahiti. At the heart of his argument is the figure of Odilon Redon, who was in fact a friend of both men. Huysmans had written some of the first positive reviews of Redon's art, which had played a vital role in establishing him in the art world. Both Redon and Gauguin had exhibited in the 8th Impressionist exhibition of 1886, and by the late 1880s Redon was one of the few artistic contemporaries of whom Gauguin spoke with unambiguous respect. Gauguin is responding to a chapter of Huysmans's "Certains" on Redon entitled "Le Monstre" (1889). To Huysmans, Redon was an artist of fantasy, creating distorted monsters to express modernity - a visual equivalent of contemporary decadent and symbolist literature. Gauguin refutes this, claiming that Redon's imagination is an expression of nature. This article was dated by Guérin, who notes that it was first published in Les Nouvelles littéraires, 7th May 1953. Interestingly, the manuscript shows significant differences from the published text, with a number of important sentences silently omitted or re-ordered. Karl-Joris Huysmans (1848-1907) French Novelist and art Critic. A founding member of the Academy Goncourt and an early advocate of Impressionism.Odilon Redon (1840-1916) French Painter. Best known for his Dreamlike works inspired by Japanese art.Gustave Moreau (1826-1898) French artist, an important figure in the Symbolist movement.Pierre Puvis de Chavannes (1824-1898) French painter.

JEFFERSON THOMAS: (1743-1826) American President 1801-09, a Founding Father of the United States of America and the primary author of the Declaration of Independence. A good, large D.S., Th: Jefferson, as President, one page (vellum), large folio, Washington, 27th March 1806. The partially printed document, completed in manuscript, is a military commission appointing Alexander Macomb to be a Captain in the Corps of Engineers in the service of the United States and 'to take Rank as such from the Eleventh day of June One Thousand Eight Hundred and five', further stating that 'He is therefore carefully and diligently to discharge the duty of Captain by doing and performing all manner of things thereunto belonging.......And he is to observe and follow such Orders and Directions, from time to time, as he shall receive from me, or the future President of the United States of America or the General or other superior Officers set over him, according to the Rules and Discipline of War'. Countersigned at the foot by Henry Dearborn (1751-1829) American Colonel who fought in the War of Independence, served with George Washington's Continental Army and was present at the British surrender at Yorktown. Secretary of War 1801-09. With a circular blind embossed seal affixed at the head alongside an engraving by John Draper of a large eagle and shield and with another fine engraving at the foot, also by Draper, depicting cannon, crossed flags, drums, weapons and other symbolic militaria. A handsome signed document with good association. The manuscript text is a touch light, although remains perfectly legible. Some light age wear at the folds, one of which runs across Jefferson's signature, although to very little detriment. VGAlexander Macomb (1782-1841) American Major General, Commanding General of the United States Army 1828-41. Macomb received a Congressional Gold Medal for his stunning victory as the field commander at the Battle of Plattsburgh during the War of 1812.

STEINBECK JOHN: (1902-1968) American writer, Nobel Prize winner for Literature, 1962. A fascinating autograph manuscript, unsigned, six pages (separate leaves, written to the rectos only), folio, n.p., n.d. (1953). The manuscript, written in pencil and with various corrections as well as significantly longer unpublished sections to the published text, represents Steinbeck’s essay My Short Novels which appeared in Wings magazine in October 1953 ahead of the publication of the works as a collection. Steinbeck provides his analysis of six novels and opens with an introduction (numbered 1B) which is entirely different to the published version, in the present text writing ‘A book, even a little book, is a kind of person. It has tone – that’s its personality, and structure, that’s its physique…..During the time of a book’s writing, the author is his book – not one or other of the characters but the whole book…..When the book is finished, that person usually dies in the author……If the author has deeply loved the book……then when it is finished, he forgets…..the struggles and doubts and he remembers it as he would a dear person who is gone……I have never gone back over books long finished until now. But the printing of these short novels in one volume requires that I look at these and try to remember them. It is a confusing thing. Can I have been all of these persons……’, continuing to refer to his writing processes (‘Writing is an elusive business’) and commenting on the novels in particular ‘No two of these novels are alike. It would be strange if they were. Each one grew out of a time, and a condition, a state of mind, and states of history both personal and general. I can’t be sure that what I set down now is accurate but I have tried to remember’. Steinbeck then proceeds to reflect on the six stories, the circumstances of their writing, their reception, the goals he pursued in writing them, and more, beginning with The Red Pony, the manuscript reading ‘The Red Pony was set down in a matter (?) of pain. My mother was dying and her death was the first break in the family. Young people try to find a reason or a cause or a purpose in the events which move them. I suppose this is self-protective. In this time, I went back to my own childhood and tried as so many others have to write a death and a transfiguration, a balance between life and death…..’ (The published text varied considerably, ‘The Red Pony was written a long time ago, when desolation reigned in my family. The first death had arrived. And the family, which every child believes to be immortal, was broken. Perhaps this is the coming of age for every man and woman. The first torturous question: why?, then acceptance, and then the child becomes a man. The Red Pony was an attempt, an experiment, if you will, to put on paper this loss, this acceptance and this growth’). The writer then turns to Tortilla Flat, reflecting ‘I had been reading extensively concerning the Arthurian cycle – not with great scholarship but with interest…..wondering what real thing had happened out of which the myths grew. And then as an exercise I wrote Tortilla Flat using the people and stories currently told in Monterey but trying to set them in a moral tissue like the Gesta Romanorum. It was a kind of satire attempt to write folk lore….’, continuing with Of Mice and Men (‘another experiment’) and providing an anecdote involving his dog, Toby, who was thoughtful and given to brooding, ‘Once when I had finished about two thirds of Of Mice and Men I went out for an evening leaving Toby alone. Perhaps his critical sense took charge. At any rate he tore my manuscript book to confetti. There was no fitting it together. I had to start from the beginning…..I’ve often wondered how different the two versions were. I’ll never know’, writing of The Moon is Down, which was published after an interval when several long novels were created, ‘The Moon is Down was a kind of declaration of faith in the strength and survival of free and democratic men over dictatorship. The book got me in a lot of trouble. I was called a traitor…..’, the essay continuing ‘The fifth short novel was Cannery Row. It was written on my return from Europe and Africa…..as a war correspondent. It was written as a nostalgic thing to forget the bitterness and horror……It was said that I didn’t know anything about war; perfectly true although how Park Avenue commandos found me out I can’t conceive…..Subsequently I saw a piece of war as a correspondent and following that wrote Cannery Row….[for]…..soldiers who had said “Write something funny that isn’t about the war…..we’re sick of war”. They had to fight it……It was pleasing to me that half a million copies were distributed to troops and they didn’t complain. We had some very war-like critics then. They had no patience with soldiers’ and concluding ‘In Mexico I heard a story and made a long jump back to the Tortilla Flat time. I tried to write it as folk lore…..I called it The Pearl. It didn’t do so well at first…..but it seems to be gathering some friends or at least acquaintances. And that’s the list in this volume. It is strange to me that I have lived so many lives. Thinking back it seems an endless time – and only a moment’. The manuscript, as it exists in its present form (the pages are numbered 1B, 2, 3, 4, 5 and 5) finishes with what appears to be an incomplete sentence, ‘Miguel Cervantes created the modern novel’. A wonderful manuscript, full of interesting observations in which Steinbeck shows the thought process behind some of his most famous works, as well as writing in general, all interspersed with a little humour. Some chipping and small areas of paper loss to the edges of each of the pages, only very slightly affecting a few words of text. G

KUZMA GREG: (1944- ) American poet. Small series of four T.Ls.S., Greg Kuzma, each one page, slim 4to, Crete, Nebraska, all dated but with no year indicated (1970s), to the poet, editor and literary critic Jan Schreiber (3) and the editor David Godine (1). Kuzma writes regarding various publishing matters, in part, ´I´m sorry, of course, that the poems of The Petition aren´t the right kind of things for you. Will you look at another group? I ask this partly because the Hollander book that you sent me is so superbly done that I doubt I´ll see a finer looking book, and would be so delighted if something similar might ever come about for me. The other reason is that though I think The Petition poems are good, and mine, I am writing different kinds of poems now and have been for some time, and that my work has generally, over the years, sought many forms and voices. Short of rhyme and meter itself, I think I have written poems of a sort that might interest you, poems that are not "of the poetic climate" that exists in this country today - - I know sort of what you mean´ (19th January), ´Congratulations on having the Hollander book up for the NBA. Anybody´s going to have trouble beating out Ammons, or is it Berryman this time? But good luck. This stuff here is what I´d like someone to make a book of. These are my first six published pamphlets - - I´d like to have a selected poems taken from them, but not necessarily call it that. I was going to use a number of these in the Viking book, but then I changed my mind and wanted the Viking book to be work that hadn´t been collected before. They did end up using a few poems from The Bosporus and "The Monster" from Something at Last Visible. Harry´s Things would have to stay together, though it might be cut back a bit. Anyway, I thought I´d let you take a look´ (10th April), ´I expect we are into different things, and most of the time I guess my work isn´t either terse or precise, and I´m never formally patterned. As much as I admire Frost and find myself moved by him, I can´t get his formal tightness without sounding hollow.....I read somewhere that you are doing the printing of a John Judson book for Elizabeth Press. Do you like his work? I ask because I have a manuscript of woods and fishing poems that are quite imagistic and accurate descriptively, called McKeever Bridge. Part of it is being done as a chapbook by Bill Fox, a small publisher, but the whole of it is something I´ve wanted to see done for three years or more´ (4th December), ´....I ran across one of your brochures, and I note that you publish poetry. Would you be willing to read a manuscript of my work? I´ve been publishing poems in magazines for a number of years, and 7 of my pamphlets have been published by small presses. Recently Viking Press has contracted a book from me, and they may take another or two. But there are a couple other manuscripts I believe in, and would like to see reach print, especially in artistically-finished editions. I am a printer/publisher myself, although I´m not very good at it yet´ (22nd November). Together with a printed 8vo promotional flyer issued for Kuzma´s readings. Three file holes to the left edge of each letter, VG, 5Jan Schreiber (1941- ) American poet, translator and literary critic who launched the poetry chapbook series at the Godine Press.

WRIGHT JAMES: (1927-1980) American poet, awarded the Pulitzer Prize for Poetry in 1972. A scarce, small group of three T.Ls., two signed, James Wright, four pages (total), 8vo, New York, November 1974 - January 1975, all to Stephen Brook. The letters concern the proposed publication of some of Wright´s poems in a chapbook and state, in part, ´....it would make me very happy to have some of my work appear in your series. However, you may not wish to publish what I have in mind. If so, I will understand. In a chapbook I wish to publish 19 prose poems......Most of them will appear in magazines in the coming Spring......Also, I can easily find someone to write an appropriate introduction or afterword, should you so desire. My regular publisher, Farrar, Straus & Giroux, advises me to ask that you publish any chapbook of my work on a non-exclusive basis and only in the chapbook edition; that is, I wish to reserve to myself the right to include these prose poems in any future book of my own´ (unsigned; 15th November 1974), ´It´s true that the nineteen prose poems I sent you were in no particular order, and that a principle of organization is needed. May I propose an idea? What would you think of printing a chapbook in two sections? The first would include those prose poems which you mentioned as dealing with "art and culture" and the second with those which you call "autobiographical recollections". (These terms don´t quite satisfy me, but I see what you mean)´, continuing to list the twenty-one poems in his proposed order over the two parts and remarking ´You´ll notice that I´ve added two very short prose poems to the second group.......I think your ideas about organizing the prose poems which I sent you is a good one, and I´m curious to hear what you think of what I´ve done in response. In any case, dear Mr. Brook, please accept my gratitude for the thoughtfulness and care with which you´ve read the manuscript´ (8th December 1974), ´Although I´m of course disappointed that you´ve decided not to print my little manuscript of prose poems, I do quite well understand the reasons for your decision. Perhaps, according to your kind invitation, I will have another manuscript to submit to you one of these days. Meanwhile, please be assured of my admiration for your beautiful series´ (30th January 1975). Some creasing to two of the letters and one with three file holes to the left edge, G to VG, 3Stephen Brook (1947- ) English author and wine journalist, a former editor of The Atlantic Monthly Magazine and publisher at Routledge, Kegan & Paul from 1976-80.

DREISER THEODORE: (1871-1945) American novelist. A.L.S., Theodore Dreiser, two pages, 4to, New York, 23rd August 1928, to Blodgett. Dreiser states that he was pleased to have heard from his correspondent again and to have read the pages that he had sent, and continues to offer some advice, ´You write charmingly, but.....a little diffusely. All that of course can be edited out. I have no idea of your frame work - the structural appeal of it. But if you have am appealing artistic structure and can present it in this colorful, sympathetic manner you should get somewhere with it. I suggest that when you get the manuscript done - not before - you let me see it. But if you do, please expect an unbiassed (sic) comment. I am not willing to say I approve of anything unless I do´, also briefly referring to his correspondent´s marriage troubles (´The fortunes of war. And no one escapes some slaps´) and the possibilities of meeting each other either in Washington or New York. Some light creasing and one small tear to the lower edge. otherwise VG

HONORE V: (1778-1841) Prince of Monaco 1819-41. D.S., with his initials and a flourish, one page, oblong 8vo, L´Orangerie, 12th April 1836, in French. The manuscript document is a promissory note, ´Bon pour la somme de six cent francs payables au [Mon]sieur Beaujean fin de Novembre prochain´ (Translation: ´Good for the sum of six hundred francs payable to [Mon]sieur Beaujean at the end of November next´). With various ink annotations and official stamps etc., as well as endorsements to the verso, indicating that the monies were paid to Beaujean at Paris on 30th November 1836. Some minimal, light age wear and minor staining, otherwise VG

YUSUPOV FELIX: (1887-1967) Russian aristocrat who participated in the assassination of Grigori Rasputin and married Princess Irina Alexandrovna, a niece of Tsar Nicholas II. Manuscript D.S., Prince Youssoupoff (twice), one page, 8vo, Sarcelles, 28th August 1940, in French. The document states that Yusupov has agreed to sell to Mr. Korganoff a set of silver frames for the sum of 15,000 francs. A further note to the lower half of the page, signed by the Primce with his initials (´F. Y.´) recognises the document as being a provisional receipt. Some very light, extremely minor age wear, VG

Early 20th Century Manuscript folio size Architecture studies. 5 in total. A STH Brock. Inc front of Sir Paul Pindars House, colour wash, pencil, one dated “09” [1909]some elections, pencil and ink. Large format measuring on average; 68cm x50cm.

Manuscript. 1923. Science and Physiology. Period cloth, approx 150 pages of manuscript entires in ink with a few leaves slipped in with manuscript notes. Book filled [a few blanks], in neat English hand, dated 1923 to the front. Illustrated with open and ink diagrams, Includes health, medicine. Text block detached,, unknown hand.

Typescript Manuscript “The Swan and its Song” 4to. Disbound [as made] Full title “The Swan and its Song A Full Account of the Swan with extracts from upwards of One Hundred and Fifty Ancient and Modern Writers and Poets concerning the Story of its Song. By C[laude]. Egerton Lowe [1860-1947]. All sheets disbound. With front cover with pencil illustrations and ink title, 250+ pages in typescript and manuscript hand, typescript with ink corrections. Seemingly unpublished. Music interest.

Almanac. Peacock's Polite Repository, or Pocket Companion; containing an Almanack, the Births, Marriages, etc. of the Sovereign Princes of Europe, Lists of both Houses of Parliament, Officers of State, Navy and Army, the Baronets of England, and various other Articles of Useful Information.1833. London. Printed for F. Peacock. Bound in a period limp Morocco wallet sale binding. Measuring; 12.3cm x 8.8cm. neat ownerships annotations to front, Engraved frontis and title. Engraved headings to Diary, manuscript entires to rear, 120pp. Scarce.

A box containing hundreds of prints, copper engraved, steel and lithograph, with some photos, ephemera, manuscript material and others 20th to 18th Century.

Pennant (Thomas). Tours in Wales, 3 volumes, London: Wilkie and Robinson, J. Nunn, White and Cochrane.., 1810, 44 engraved plates (some folding), few manuscript notes bound in, mid 19th-century green half morocco gilt, light wear at head of spines, boards lightly rubbed. Bookplate to the front pastedowns. 8vo.

19th century [c1869-1903] Vellum Folio. Manuscript. “Circulars from Head Office” in Morocco to upper board. Index to the front. London Banking, Entries over 30 years +. Approx 220 years with ink manuscript entries, Occasional banking ephemera pasted in. Gold, Silver, Gan Of England Interest.

An original woodcut. John Bewick. “The Angler”[Complete Angler]. A curious piece, on paper, landscape, not in centre, original woodcut hand coloured with ink manuscript caption “coloured by J.B [John Bewick], Early proof,beautifully hand coloured by John Bewick[?]. Sheet size; 22.5cm x 14cm. Woodcut size; 8cm x 6cm.

19th century copy book. 4to. With 78 pages filled, the rest blanks. Entries including 1876 Villa Rosalie, Cannes, France, in English hand, regarding a transfer of £1000 from the bank of Egypt. One signed Tom Wells regarding an architecture drawing. Others signed T. C. Fletcher, … “Green”,. And others. Various copies of manuscript letters.

A good quality 1840 Book of Common Prayer, 16mo pocket edition, bound in gilt brass and blue velvet with watered silk lining and end-papers (exceptional condition), to/w a volume 'The Cricket-Field' by Revd. James Pycroft, 4th, 1862 (worn), an interesting manuscript leather-bound ledger giving household accounts 1860 - 67, including servant's wages, cost of cattle and feed, taxes, property, etc (3)

Early Motoring Interest - Albert Charles Hills (1965-1952) Early Motoring Pioneer - a collection of items relating to AC Hills c1880-1910, comprising: a bound scrap album titled in gilt 'Cycling Reminiscences - AC Hills,' and filled with newspaper articles and personal photographs from his various cycle tours, which all appear to be Penny Farthing cycle tours, including: Tour In Kent Easter 1866 with the Brixton Ramblers Bicycle Club, 'The First French Tour Of The Brixton Ramblers Easter 1887,' including an original laid-in route card, an 'Annual Club Feast' 1894 menu, 'At Frensham Ponds - Hants - Whitsun 1888,' Brixton Ramblers Championship Surbiton July 23rd 1887 (a Penny Farthing race), 'The Brixton Ramblers' Tour In France 1887,' and other entries. Approx 2/3 full, with the latter half of the album relating to early motoring interest articles. Along with an early believed c1910/1920 typed loose-leaf manuscript written by Hills and titled 'Early Motoring Days,' and goes into great details regarding the very early days of motoring and his personal experiences. a humorous typed 'Christmas Card,' poem note on Hills-Martini Ltd headed paper and signed in pencil, and some later printed matter. Consigned from the family. A unique and historically important archive of early penny farthing and motoring history. 

A First World War soldier's manuscript pocket book diary. The diary with writings at each end and near complete, with Calendars for 1913 and to front pastedown. Named to 9373 E. D. Tozer of N. H. Company 'The Queens'. Initially detailing Tozer's training, with rules, responsibilities and regulation written in pencil, including rifle control, outposts and manoeuvres. From here verses turn to religious texts and passages, including an attack plan & diagram. To verso, a list of fellow soldiers in the mess, followed by a purchase list and an address book. 

WWII & D-DAY INTEREST. An official sea chart of the coast of Normandy for military use, Approaches to Arromanches Les Bains, F.1287, Confidential, Issued for Fleet Purposes by the Hydrographic Department of the Admiralty, 28th July 1944, Under the Supervision of Vice-Admiral Sir John Edgell, New Edition, 1st September 1944, property of HM Government with mention of the Official Secrets Acts, numerous manuscript notes in pencil, 51.5 x 69cm, folded

VAD (Voluntary Aid Detachment) Interest Miss Freda Margaret Packham. V.A.D WWII group comprising Burma Star, 1939-1945 Star, Defence Medal and War Medal, her dog tags, Mobile V.A.D patch,various Red Cross and Nursing badges and medals, Red Cross belt buckle, and head wear. Together with photographs, letters and other documents relating to her service in Burma and India. Provenance:- By family decent Included with this lot is her notebook and a later manuscript giving a fascinating insight of her life and duties in the V.A.D. Leaving for service in India on 14th July 1944. Later in 1945 when the ship she and a small group of other nurses was due to travel to Burma on was delayed, she managed to hitch a ride on an R.A.F flight to Rangoon, arriving on July 9th 1945 she was possibly the first V.A.D in Burma. Serving at 38 British General Hospital, she was active in the care of British prisoners of war released from Japanese captivity. Also included is a dispatch, Letter of Appreciation from Brigadier F. Harris, DDMS Burma Command on 30th January 1946, in which he states, " It is with great pleasure that I have heard of the splendid way in which the Nursing Officers and VAD members of the 49. IGH rose to the occasion during the recent difficult time in that hospital, even, I believe, to the extent of carrying out duties normally performed by the IORS of the unit. I understand that, due to their hard work and devotion to duty the care of the patients was during this time, maintained at its customary high level. I should be glad if you would be so good as to convey to P/Matron (Mrs) McQuinn and all the members of the QAIMNS and VAD in 49 IGH (C) my grateful appreciation of their sterling efforts and my thanks for so loyally carrying out their difficult task in such an exemplary way. They have indeed upheld the best traditions of the Military Nursing services.

AL-KITAB AL-MUBARAK: A GEOMANTIC MANUSCRIPT WITH CHARTS AND DIAGRAMS Iran, dated Muharram 1032 AH (November - December 1622), signed by Mohammad bin Mohammad Al-HaqirArabic manuscript on paper, 110ff., no fly-leaves, with 21ll. to the page of free-flowing black and red ink naskh script, a thorough compilation of writings on Islamic geomantic and divination practices with relevant words, titles, and sections highlighted in red, catchwords, page numbers in Arabic numerals in the upper left corner, comprising several charts, ritual diagrams, magic squares, abjad calculations, and lists of talismanic and magic symbols, especially the Islamicate Seven Seals, with their powers and attributes, in an embossed paper binding with red fabric spine, the page 21cm x 15cm. the page 21cm x 15cm Qty: 1

A COMPENDIUM OF SCIENCES INCLUDING CHEMISTRY AND PHILOSOPHY Possibly Iran or Iraq, dated Jumada al-Thani 1244 AH (December 1828 AD), signed by Mohammad al-Mostafa Bin ShamseddinArabic manuscript on lined paper, 155ff., no fly-leaves, with 11ll. to the page of black ink naskh script, with words and sections marked in red, profuse marginal notes and commentaries in a variety of hands, comprising several charts, grids, and diagrams towards the end, including specific sections on theory, chemistry, philosophy, and other major Islamic sciences, dated Tuesday, the end of Jumada al-thani 1244 AH and signed by Mohammad al-Mostafa Bin Shamseddin, in a tooled brown leather binding with arabesque medallions, the page 20cm x 15cm. the page 20cm x 15cm Qty: 1

A COMPENDIUM OF ISLAMIC MARITAL LAWS AND SHARIATIC RELATIONSHIP PRACTICES Possibly Iraq or Egypt, 19th centuryArabic manuscript on wove paper, 171ff., no fly leaves, with 30ll. to the page of black ink naskh script and titles in bold thuluth script, with full diacritics, catchwords, several marginal notes and commentaries on the borders, page numbers in Arabic on the upper left corner, an encompassing compendium discussing Islamic marital laws and social codex, including specific sections such as the Book of Friendship, the Book of Marriage and the Book of Divorce, outlining the correct conduct for pre-nuptial arrangements, guarantees, administration of finances, sexual practices, and lawsuits, the page 26.5cm x 18cm. the page 26.5cm x 18cm Qty: 1 Evidence of rebinding (later addition), the pages worn and rubbed around the edges, some with minor marginal tears, some staining and foxing, and some smudges, the final pages unevenly trimmed, the binding worn and rubbed, could benefit from minor conservation and rebinding but the manuscript is in overall fair condition.

A GARDEN SCENE: A FEMALE COURTIER AND A CHILD EN PLEIN AIR Possibly Bundi or Provincial Pahari School, North India, 19th centuryOpaque pigments heightened with gold on wove paper, the vertical-format composition depicting an intimate garden scene with a female courtier reading a manuscript hanging from a tree branch, accompanied by a toddler, possibly a prince given his distinctive hat and encrusted floral belt around the waist, joined by a female attendant offering to the lady a minute gold drinking cup, a variety of full blossoms in the foreground suggesting the arrival of spring, the reverse plain except for later-added notes and inventory numbers, 22.5cm x 17cm. 22.5cm x 17cm Qty: 1

A LOOSE MURAQQA' ALBUM PAGE OF SHIKASTEH NASTA'LIQ CALLIGRAPHY Zand Iran, dated 1153 AH (1740 AD)Persian manuscript on paper, with several overlapping and interlinking lines of black ink shikasteh nasta'liq script interspersed amidst gold cloudbands and set against a stained, dark cream ground, the text arranged in a spiralling order, starting from the top left-hand-side and moving in a circular motion back to the top right-hand-side, dated in the middle 1153 AH, the calligraphic panel laid on a thicker sheet of cardboard with concentric black, gold, and dark brown rules, mounted, glazed and framed, the text panel 18.5cm x 10.5cm, 31.5cm x 22.7cm including the frame. 31.5cm x 22.7cm including the frame Qty: 1

A CHINESE QUR'AN JUZ': SURA AL-BAQARAH (2) China, 19th centurySura Al-Baqarah (2), Arabic manuscript on wove paper, 86ff., 3 fly-leaves, with 7ll. to the page of black ink sini script, the illuminated opening and closing bifolios in polychromes and gold, aya markers as golden rosettes, marginal notes in black, illuminated motifs and Chinese auspicious patterns in polychromes, the text set within concentric red rules, in a tooled brown calf leather binding with flap, the text panel 15cm x 8cm, the folio 21cm x 12cm. the text panel 15cm x 8cm, the folio 21cm x 12cm Qty: 1

MANAR AL-USULAYN BY JALAL AL-DIN BIN ‘UMAR BIN MUHAMMAD AL-KHABBAZI (D. 1291 AD) Possibly Egypt or Syria, Mamluk Provinces, dated Tuesday 23 Rabi al-Awwal 749 AH (21 June 1348 AD), signed Ahmad Bin Amir Dawud Bin IbrahimArabic manuscript on wove paper, Manar al-Usulayn or possibly Al-Mughni fi Usul al-Fiqh, a treatise on Hanafi jurisprudence, 176ff., 2 modern fly leaves, with 28ll. to the page of black ink naskh script, with occasional marginal notes and highlights in red, the first folio with a later ownership note with the date 1001 AH (1592 AD), in an early 20th-century European binding, the page 23.4cm x 16cm. Provenance:The Hagop Kevorkian Fund, Sotheby’s London, 18 April 1983, lot 31;Then Christie's London, 24 April 2015, lot 265 Qty: 1 The manuscript rebound, the binding of a later period than the main text, evidence of foxing, staining and watermarks throughout, especially in the first third of the manuscript, some pages trimmed around the borders, at times the trimming and crops uneven, other pages a bit loose and brittle, the final page trimmed and pasted on a sheet of lined paper, evidence of minor insect activity, especially at the start of the manuscript, overall in fair condition, some pages could benefit from conservation treatment.

TWO MANUSCRIPTS: A QURANIC COMMENTARY (TAFSIR) AND A MANUSCRIPT ON ISLAMIC LAWS Possibly Iraq or Ottoman Provinces, the first dated 1093 AH (1682 AD) and the latter 1223 AH (1808 AD)Comprising a Tafsir Arabic manuscript on lined paper, 85 ff., 2 fly leaves, with 27ll. to the page of black and red ink naskh script, catchwords, marginal notes, and important passages in red, dated 1093 AH and signed by Moussa Bin Abdallah Bin Al-Hajj Zein Al-Abideen, in a tooled brown leather binding with traditional Ottoman cusped arabesque cartouche, the page 21.5cm x 15.8cm; and another Arabic manuscript on lined paper, 98ff., no fly leaves, each page with a different number of lines following a multi-directional approach, in a variety of hands and scripts in black ink including naskh, nasta'liq, and minor diwani word clusters, dated 1223 AH, comprising several chapters on custody, alimony, divorce, guarantees, deeds, lawsuits and other social practices, in a plain dark red calf binding, the page 20.6cm x 13.8cm. Qty: 2 The fly-leaves of one volume torn, brittle and stained, some evidence of rubbing, staining, watermarks and foxing throughout, especially at the end and start of the manuscript, some smudges, the binding worn and crinkled. The second volume loose and detached from its binding, the spine ripped and torn at the top, the pages worn around the sides, some with very small, marginal tears, no major evidence of staining and foxing, some smudges, overall in good condition.

"Select and Original Pieces written at M Sigstons Academy, Queen Square, Leeds , by Jn. Lucas 1817", manuscript with watercolours, another 1817, together with two handwritten exercise books by George Deplege, " Practice Interest Brokerage Profit & Loss Equation of Payments of Barter" finished in 1810, and "The Elements of Geometry, Book 1, Definitions" with another small exercise book listing Counties by an unknown hand (5)

Bates (H. E.). The Two Sisters, 1st edition, London: Jonathan Cape, 1926, endpapers a little toned, original cloth, dust jacket, slight toning to spine, one or two small nicks, 8vo, together with Lehmann (Rosamond). A Note in Music, 1st edition, London: Chatto & Windus, 1930, light spotting front and rear, presentation inscription and manuscript note 'I do hope you enjoyed it' at foot of last page, original cloth, price-clipped dust jacket, spine a little faded, small stains to rear panel, 8vo, plus Williamson (Henry). The Lone Swallows and other essays of boyhood and youth, 1st illustrated edition, London: G. P. Putnam's Sons, 1933, illustrations by C. F. Tunnicliffe, light spotting to endpapers, contemporary presentation inscription to front pastedown, original cloth, a few light marks, dust jacket, spine a little rubbed and toned, 8vo, with others including The Bowmen and other Legends of the War, by Arthur Machen, 1915, Gold Coast Customs, by Edith Sitwell, 1929, Brief Candles, by Aldous Huxley, 1930 and others by Henry Williamson, T. H. White, Arthur Machen, Bruce Chatwin, Angus Wilson, Denton Welch, Peter Ackroyd et alQTY: (approximately 220)

The Whittington Press. Pages from Presses: Kelmscott, Ashendene, Doves, Vale, Eragny & Essex House, with a commentary by David Butcher, signed by the author, Herefordshire: The Whittington Press, 2006, folding frontispiece, 6 original paper leaves, publisher's original pink buckram over purple paper boards, gilt lettering to spine, contained within matching slipcase, folio, limited edition 88/95, together with:David Butcher. The Stanbrook Abbey Press, 1956-1990, with an introduction by John Dreyfus and a memoir of Dame Hildelith Cumming by the Abbess of Stanbrook, signed by the author and the Abbess of Stanbrook, Herefordshire: The Whittington Press, 1992, many tipped in samples and illustrations, publisher's original orange buckram over marbled paper boards, gilt lettering to spine, contained within matching slipcase, folio, limited edition 13/248Kipling (Rudyard). The Glory of the Garden..., with linocuts by Judith Verity, Gloucestershire: The Whittington Press, 1989, signed by the illustrator, specimen page slipped in, publisher's green paper covers with decorative title label, 4to, limited 48/125, with accompanying poster (Our England is a Garden, and such gardens are not made By sighing 'O how beautiful') signed by the artist, blue tac marks to verso, 760 x 550 mm, limited edition 7/130The Wood-engravings of Josh O'Connor. with a commentary by Jeannie O'Connor, Gloucestershire: The Whittington Press, 1989, wood engravings throughout, publisher's original red buckram over decorative paper boards, gilt lettering to spine, contained within matching slipcase, folio, limited edition 253/300McKitterick (David). A New Specimen Book of Curwen Pattern Papers, Gloucestershire: The Whittington Press, 1987, numerous specimens of pattern papers tipped in, green morocco over decorative paper boards by Smith Settle, gilt lettering to spine, plus 5 additional sheets of pattern contained within decorative paper slipcase (a little toned at spine), the whole contained within green paper slipcase, 4to, limited edition 11 of 85Russell (Richard, editor). A History of The Marlborough College Press..., Gloucestershire: The Whittington Press, 1984, with loose manuscript letter from the Whittington Press, blue buckram over decorative paper boards, 4to, limited edition of 200Grant (Rowland). Steps to the River. Poems by Roland Gant with eight wood-engravings by Howard Phipps, Herefordshire: The Whittington Press, 1994, signed by the author and illustrator, green cloth over decorative paper boards designed by the illustrator, paper title label to spine, folio, limited edition 66/200Craig (Edward). William Nicholson's An Almanac of Twelve Sports and London Types. An introduction to the reprint from the original woodblock..., Gloucestershire: The Whittington Press, 1980, (text pamphlet only, lacking accompanying portfolio), signed by Edward Craig, contained within publisher's orange wrappers with text to upper cover, a little faded, folio, limited edition of 225QTY: (8)

* Auden (Wystan Hugh, 1907-1973). Autograph Letter Signed, ‘Wystan’, 3062 Kirchstetten, Hinterholz 6, Austria, 12 August [1969], a lengthy letter in blue ballpoint pen, 'The Golden Chain arrived from Hutchinson's yesterday. To my horror, it seems to be your manuscript with corrections in your handwriting. Do Hutchinsons have another copy? If not, I am afraid to entrust such a precious thing to the mail. Have just finished reading it and I am enormously impressed. I don't know of anyone else, except possibly Virginia Woolf, who has such a sense of the poetry of objects, of the visible as a world of sacramental signs. The book, precisely because it is so intense, is, maybe, a shade on the long side. I personally don't care, but the average reader may', then saying he has 'two trivial criticisms, and a more serious question I must raise...', reprimanding Rossiter for the expression 'a creative person' and 'that appalling jargon word finalise. Why not either finish or complete?', the serious question being more philosophical and concerning self-expression, '... You believe, I'm sure, that God put you on earth to paint, as I believe He put me on earth to write verses but, perhaps, in the eyes of Heaven, these are very lowly activities. What can we hope to do for the world by them? I think Dr Johnson has the right answer: "to enable others a little better to enjoy life or a little better to endure it." We ourselves should emphasise the little...', with two post scripts, 3 pages on two sheets of personal stationery, folio, with the accompanying envelope, together with a related typed carbon copy of Rossiter’s letter to Auden, 25 August 1969, 1 page, 4toQTY: (2)NOTE:Provenance: From the family, by direct descent. For further information please see https://www.anthonyrossiter.co.uk

[Dodgson, Charles Lutwidge], 'Lewis Carroll'. Alice's Adventures in Wonderland, 10th thousand, London: Macmillan and Co., 1867, frontispiece and illustrations by John Tenniel, occasional light spotting, previous owner inscription to half-title, bookplate to front endpaper, front hinge a little tender, all edges gilt, original red cloth gilt, rebacked with title in manuscript on label pasted to spine, slight fading and a few small stains, 8vo, together with The Prisoner of Zenda, by Anthony Hope, 1st edition, 3rd state [1894], contained in half calf solander box (spine faded), 8voQTY: (2)

Stevenson (Robert Louis). Strange Case of Dr Jekyll and Mr Hyde, 1st UK edition, London: Longmans, Green, and Co., 1886, slight toning to textblock, advertisements leaf at rear for the second edition of A Child's Garden of Verses, original wrappers, last number of date at foot of upper wrapper corrected by the publisher in ink (i.e. the '5' changed to '6'), rear wrapper with small repaired tear, front wrapper with light creases and small chips at foot of outer margin, bound in contemporary half, joints a little rubbed, 8vo QTY: (1)NOTE:Originally intended to be released for the Christmas 1885 market, but due to a glut of titles on the market at the time the publishers decided to hold off until January 1886, hence the manuscript correction. Published four days after the first US edition, but preceding the first UK hardback edition.

AR * Shepard (Ernest Howard, 1879-1976), 'Ratty and Mole', [1959], fine pencil, ink and watercolour with body colour on off-white wove paper, signed lower left, 26.5 x 18.5 cm, framed and glazed with photocopies of Shepard’s manuscript labels to picture verso pasted to back of frameQTY: (1)NOTE:Provenance: Acquired by the vendors’ parents directly from the artist at an exhibition of his own work in Haslemere, Surrey, 29 May – 12 June 1965. Framed and mounted for the exhibition the picture was priced at 15 guineas.Shepard’s line drawings were first used to illustrate a new Methuen edition of Wind in the Willows in 1931. In 1959 Methuen published a new Shepard edition with an additional eight colour plates from watercolours by the artist.This watercolour of Ratty and Mole in a rowing boat by the reeds in the near foreground and Otter and his young son Portly on the far side of the river. The scene is described in Chapter 7, ‘The Piper at the Gates’, when Mole and Rat reunite the missing Portly with his father.‘They watched the little animal as he waddled along the path contentedly and with importance; watched him till they saw his muzzle suddenly lift and his waddle break into a clumsy amble as he quickened his pace with shrill whines and wriggles of recognition. Looking up the river, they could see Otter start up, tense and rigid, from out of the shallows where he crouched in dumb patience, and could hear his amazed and joyous bark as he bounded up through the osiers on to the path. Then the Mole, with a strong pull on one oar, swung the boat round and let the full stream bear them down again whither it would, their quest now happily ended.’The picture was also used as a full-bleed design for the upper panel of the dust jacket of the first edition in 1959, but later replaced with a design featuring all four of the book’s major characters and title lettering. The original watercolour of this latter design, which Shepard described as the cover design in his inventory for the Haslemere exhibition, was sold by Sotheby’s, London, 10 December 2019, lot 252. In the reed bed at the lower edge of the drawing Shepard has added a hand-painted roughly torn strip of paper that sits raised above the lower edge to give extra depth to the picture. This overlaid strip is original and intentional and is clearly visible in the reproductions.This 'trompe l'oeil' paper strip is an integral part of Shepard’s original drawing and is clearly visible in the reproductions.

AR * Shepard (Ernest Howard, 1879-1976), 'The Hour is Come’, [1959], fine pencil, ink and watercolour with body colour on off-white wove paper, signed lower left, 26.5 x 18.5 cm, framed and glazed with photocopies of Shepard’s manuscript labels to picture verso pasted to back of frameQTY: (1)NOTE:Provenance: Acquired by the vendors’ parents directly from the artist at an exhibition of his own work in Haslemere, Surrey, 29 May – 12 June 1965. This watercolour does not appear in Shepard’s manuscript inventory for the exhibition but was obtained directly from the artist at the same time.Shepard’s line drawings were first used to illustrate a new Methuen edition of Wind in the Willows in 1931. In 1959 Methuen published a new Shepard edition with an additional eight colour plates from watercolours by the artist.This watercolour features at the very end of the story in Chapter 12, ‘The Return of Ulysses’, and shows the moment Badger, with Ratty, Mole and Toad behind him, on the threshold and ready to burst in and attack the Weasels in Toad Hall.‘The Badger drew himself up, took a firm grip of his stick with both paws, glanced round at his comrades, and cried: “The hour is come! Follow me!” And flung the door open wide. My! What a squealing and a squeaking and a screeching filled the air! Well might the terrified weasels dive under the tables and spring madly up at the windows! Well might the ferrets rush wildly for the fireplace and get hopelessly jammed in the chimney! Well might tables and chairs be upset, and glass and china be sent crashing on the floor, in the panic of that terrible moment when the four Heroes strode wrathfully into the room!’

Life and Adventures of Mr. Pig and Miss Crane, A Nursery Tale, embellished with designs, circa 1832, 12 lithographed drawings, with tissue guards (except one), first plate collated upside down, some scattered foxing and toning throughout, minor offsetting to some pages, paper with 'Afonwen 1832' watermark, original printed paper wrappers, H.E.Delamere signature in brown ink to upper wrapper, upper wrapper detached, spine detached, overall finger soiling, oblong 4toQTY: (1)NOTE:The British Library attributes the author as being Lucy Charlotte Wrangham, but a manuscript note in the Bodleian Library copy attributes authorship to H.E. Delamere.

* South African playing cards. Boer War cards, Printed by H.M. Guest, Klerksdorp, Trans-vaal, 1901, the complete deck of 52 plus joker woodblock printed playing cards (French suits), pip signs printed in red or black, indices, single figure courts (head & shoulders only) printed in purple, kings representing Edward VII, queens representing Queen Alexandra, jacks wearing a jester's hat and carrying a bell, the joker card with skull & crossbones and 'No Joker', somewhat dusty, variable toning, some generally light spotting (JS more spotted) and brown marks, square corners, versos black ornamental pattern with central text giving maker's details and dated 'Feb., 1901, during Anglo-Boer War', each card 92 x 61 mm, with near contemporary patterned paper-covered box (one small side-flap detached but present), early ink manuscript label to front panel, 10 cards corner mounted onto a display board (54.5 x 40 cm), encapsulated in clear plastic (not examined out of display board), the remainder in a plastic bag, with a typewritten letter signed by W. Penn, on The William Penn Collection of Playing Cards headed notepaper, dated March 1st [19]59QTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Tilley, A History of Playing Cards, p.171; Tilley, Playing Cards, p.91: Worshipful Company of Makers of Playing Cards website, Curator's Corner - Boer War Playing Cards.The accompanying letter, written to a Mr. Green-Armytage, briefly discusses this rare pack of cards. Of especial interest is the excerpt from another letter, written by Colonel The Hon. Sir Lucas Guest and dated 14 October 1966, which is given in Tilley's book Playing Cards (see above). That letter describes how, due to shortages of playing cards caused by the war, H.M. Guest (the Colonel's father) made these packs of cards himself, with a friend helping to carve the woodblocks. Intriguingly the pack illustrated on the Worshipful Company of Makers of Playing Cards website has the jacks printed in yellow, whereas the pack described by Tilley agrees with ours in having the all the courts in purple. Presumably Guest was having to make do with whatever stocks of colour printing inks he had available.

* Playing card boxes. A group of 20 playing card boxes, most 19th century, some original including: The Second Empire Pack (Field #41) original two-part box; Karten-Almanach, Tubingen, 1807, original two-part box with accompanying booklet, plus another box of the same, lacking pull-off lid; Petit Jeu Prophetique original two-part box (pull-off lid broken); Comic-Karte, by Frommann & Bunte, Darmstadt, original box (defective); Transformation of Cards Metastasis, original box (defective); slipcase box with printed paper label 'The Use, Gramaticall Cards, comprizing the Generall Rules of Lilley's Gramer in ye 4 Principall parts thereof, Vizt, Orthographia, Etymologia, Syntaxis, Prosodia ...' (see British Museum 1982,U.4625.1-52), 1676?; Austrian Costume Tarock (Masked Ball) two-part box; plus other boxes probably not original including: a (probably Canadian, mid 19th century) birch bark box (defective) with moose hair embroidered design representing a type A8 GIII Rex Hall & Son exportation ace of spades, floral designs to (broken) lift-off lid panels, side & rear panels with designs incorporating a heart, a diamond and a club respectively; a green box outer with pink inner case with flap (possibly French costume pack box?, defective); dark brown leather covered box with flap, with gold tooled ornamental design and 'Court Game of Geography'; two-part brown leather covered box (defective), with marbled paper on inner lip and inside, and later typewritten label 'Playing Cards with geographical designs after J. H. Seyfrid, also with original volume of explanatory text titled Europäisch Geographische Spiel-Charte, 1678, with engraved (uncoloured) frontispieced showing men playing cards, marbled boards (spine rubbed and faded with wear), see British Museum 1871,1209.5188-5240; two-part brown leather covered box, gold-tooled 'Valentine' to lift-off lid; a large-format (12 x 8 cm) box with lift-off lid, covered (inside and out) in marbled paper, ink manuscript paper labels to lid and end panel of base 'Le Blason'; a book-form slipcase (outer part only) covered in brown leather, the fully gold-tooled spine with title Jeu de la Guerre; a brown leather covered box with gold-tooling and title Court Game of Astrophiligeon (adhesive tape to all edges), various conditions, some repairsQTY: (20)NOTE:The unusual birch bark box with coloured moose hair embroidery is very like those held in the collections of the Colonial Williamsburg and the McCord Museum. These items, often small boxes such as pill boxes, were likely made for the tourism industry, either by First Nations women or by local nuns. Unfortunately our example is badly broken, although all the sections appear to be present and the imitation ace of spades front panel is intact, as is the rear panel.