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Romford Agricultural Bank, for Joyner, Surridge and Joyner, £1, 18 February 1825, serial number 25397, blue colour protector at centre, manuscript signature of Joyner low right, annotations, very good Outing 1823a £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

Belfast Banking Company Limited, £1, 9 November 1939, serial number E/M 6634, manuscript signature, light handling, uncirculated, a lovely example PMI BB 65, Pick 126b £100-£150

Royal Bank of Scotland, £1, 24 March 1921, serial number C589/647, Speed and one additional manuscript signature, clean and fresh, lightly pressed, good very fine PMS RB 53g, Pick 316e £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

THAI BLACK AND GOLD LACQUER MANUSCRIPT CABINET, tapering form, painted red interior with shelves, 156 (h) x 96 (w) x 78cms (d)Provenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.

* Shoe Buckles. A pair of paste buckles, circa 1766, two oval steel buckles set with paste stones, 5 x 7 cm (2 x 2.75 ins), together with a printed love quotation in French on a slip of paper, and 2 small manuscript notes on laid paper, one reading 'My Mother's Wedding Buckles 1766 D.P.' and the other (in the same hand) ‘My Father’s Wedding Buckles 1766’, housed in the original velvet-lined black shagreen case (spotted, velvet to lid replaced)QTY: (1)

* Purse. An Edwardian purse, Continental, hand-stitched black velvet and satin fabric, silver pierced frame with Continental hallmark, engraved with figures and foliate garlands, inside of frame engraved 'Ottoline Morrell 10 Gower Street', lined with yellow silk, white metal chain with ring, 15 x 11.5 cm (6 x 4.5 ins), containing a manuscript note in the hand of Igor Vinogradoff 'My Juiie is a darling,/A lovely little cat./She thinks that I'm not loving,/But she is wrong in that', 8 x 10 cm (3.25 x 4 ins), together with:A Regency hand-painted reticule, small green silk bag or purse, with cream ribbon stitched vertically to centre of each side, hand-painted with blue dots between pink tulips and green and yellow leaves, one lower corner with tiny white metal acorn suspended from a ring, that to other corner lacking, top of each side gathered onto a thin white metal bar with finial at each end (one side with stitching becoming loose), white metal chain attached to middle of each bar, 13 x 18 cm (5.25 x 9 ins), plus:A late 19th century chatelaine purse, hand-stitched brocade bag (frayed and threadbare in places), silver frame with Dutch hallmark, embossed to one side, and with decorative embossed hook with two similar panels below attaching to large ring on frame (held together with ribbon where a few small connecting rings lacking), cream silk lining partly replaced with black satin, overall size 40 x 17 cm (15.75 x 6.75 ins), plus 20 other bags and purses, including a large beaded bag, probably Italian, early 20th century, both sides with a pair of dolphins amongst scrolling floral stems, lined with red and gold brocade, engraved yellow metal frame, beaded tassel trim to lower edge (slightly deficient to one corner), lacking chain, 32.5 x 23 cm (12.75 x 9 ins)QTY: (22)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); thence by descent.Igor Vinogradoff was the second husband of Julian, Ottoline and Philip's daughter, and Juiie was Julian's Garsington nickname.Lady Ottoline Morrell, and her husband, Philip, lived at 10 Gower Street, Bloomsbury, London, from 1927, after straitened circumstances forced them to sell the Oxfordshire Manor of Garsington. Ottoline had both a generous and an acquisitive nature, and the combination of years of hosting friends at Garsington, and buying beautiful furniture and objects with which to fill the house, meant that it was necessary to relocate to a more modest setting. The Morrells frequented the Continent and purchased seemingly without restraint whilst travelling abroad, as well as when closer to home. On one of their trips to an antique shop in Fulham, in 1920, they purchased 14 statues and busts with pedestals for the garden at a cost of £517, or about 20% of their total annual income.

* Arts & Crafts. A fine Arts & Crafts period continental silver frame, the metalwork typical of this style with a planished or beaten appearance, the lower section with a family crest and the sides embossed with flowers, the hallmark showing a lion passant and the maker's initials C.W.A., the shaped and glazed aperture with mahogany beading (one section missing), encompassing an impressive illuminated manuscript address by artist and illuminator Charles Sidney Groves (1878-1964) dated 1920, appointing Mrs Anna Elizabeth Thorne, Mayoress of Capetown, South Africa as a Commander of the Most Excellent Order of the British Empire, for her appreciation of the great work she accomplished as Mayoress of the city during the official years 1918 to 1920, bearing five witness signatures lower left, the frame, 43 x 30 cmQTY: (1)NOTE:Anna Elizabeth Thorne was Mayoress of Cape Town from 1918-20. She proposed and masterminded the women's campaign to build the War Memorial carillon at City Hall, Cape Town, South Africa, the world's first war memorial carillon. She was awarded the C.B.E. for her service to the community during the Influenza Epidemic of 1918 and for her philanthropic work. Her award was announced in the London Gazette on the 19th October 1920. During the Royal visit of HRH Edward, Prince of Wales (later King Edward VIII) the War Memorial was dedicated at a recital performed on 30th April 1925.The artist Charles Sidney Groves (1878-1964) was born in Leicester, England. He was awarded a scholarship to the RCA in London and trained in stained glass design, the illumination of manuscripts, drawing and painting. From 1905 he taught art at Grahamstown School of Art, South Africa and later taught at the Cape Town School of Art, becoming Senior Lecturer at UCT's Michaelis School of Fine Art, after it opened in 1924. Examples of his work were widely exhibited during his lifetime.

* Chinese. A painting on silk depicting ladies in an interior, early 20th century, watercolour and gouache on a cream silk ground, depicting 6 ladies in an interior furnished with a large screen painted with birds in a tree within a star and swastika border, and a number of pots and vases containing flowering plants and sprays on tables and jardinières, 4 x 1 mm worm hole, 36.5 x 40.5 cm (14.5 x 15.75 ins), framed and glazed (40.5 x 44 cm), backboard with worm holes and old manuscript label 'Right of Top Fireplace', together with:A hand-embroidered long banner, worked in blue, green, white, and black silks, on a gold silk ground (beginning to perish, with several tears, and lower edge frayed), depicting a motif with two fish at the top, and 2 large roundels below, each with a crane in the centre surrounded by floral motifs, and cornerpieces of flowers, bats, butterflies, and swastikas, lined with bright green silk (some marks and mottling), black plastic mount and hanging cord to upper edge, 150.5 x 47.5 cm (59.25 x 18.75 ins)QTY: (2)

Autographs: Pat Osborne, BBC producer's Autographed Visitor’s Book, 1940s-50s, signed by Walt Disney, Gene Kelly, Wing Commander Guy Gibson, Roy Plumley, Roy Rogers and Trigger, David Niven, Kenneth Horne, and many other guests on the BBC radio programmes, ‘Desert Island Discs’, ‘Housewives’ Choice’, Star Round Up Xmas, 1951, and Film Time at the Festival -a ruled and indexed A-Z address book with soft burgundy covers, 8vo. 17 x 23cm, containing 65+ signatures, many dated between 1943 to1953, ink ownership in the producer’s hand to front endpaper, ‘Pat Osborne Gramophone Department, B.B.C. 5.10.43’, and her further manuscript half-title reads, ‘Distinguished Visitors’. The autographs, a few with sketches, are mostly signed on a single page, inscribed with personal messages dedicated ‘to Pat’, and further annotated in Pat Osborne’s hand to note the title of programme, date, and guest’s name in brackets, to include -Frederick Allen, 15.10.43; Brenda Bruce; Phyllis Calvert, 1948; Petula Clark; Michael Dennison; Robert Donat and Walt Disney (together on the reverse of page ‘D’ with Micheal Dennison and others on reverse).‘Film Time at the Festival’, eight signatures including, Marjorie Fielding and José Ferrer; Stewart Granger.Guy Gibson 14.2. 44, signed to top of page ‘G’ with other signatures below, further written in Pat Osborne’s hand ‘(Wing Commander V.C., D.S.O., D.F.C. (Desert Island Discs)’ , and Dulcie Gray’s signature on reverse).Bob Danvers-Walker, the voice of Pathe News, an autographed eleven-line poem titled ‘Housewives Choice first programme Mon March 4th, 1946’.Margaret Lockwood; Len Hutton; David Jacobs, Sept 1949; Gene Kelly; Jean Kent; Alan Ladd, 1952; Glad Mills (pianist, Mrs Mills); John MacVane (NBC radio correspondent) 22/1/44, ‘The man who didn’t like Mickey Rooney’; John McCullum; David Niven; David Nixon (Housewives Choice); Eric Portman.Roy Plumley, who is best known for creating the radio programme ‘Desert Island Discs’ in November 1941. His dedication to Pat Osborne reads, ‘To Pat, The face behind the centre room window at where from we tremble. With love from the desert island story, Roy Plumley, Oct. 5th, 1943’.Derek Roy; Cecile Chevreau; Ralph Reader (Sqd. Leader Ralph Reader MBE) known for staging the original Gang Show; Roy Rogers and Trigger; Eleanor Smith, Oct. 5th, 1943; Jean Simmons; Christopher Stone, 1950; Valerie Hobson; Thora Hird; Janette Scott; Michael Storm, ‘To my producer from “The Hack’, with an ink sketch; Kieran Moore, and Googie Withers; together with, Kenneth Horne, loosely inserted Typed Letter Signed, a single-page on printed headed paper, dated January 22, 1965, sent form his London address to Miss Pat Osborne, B.B.C. London W.1., ‘many thanks for putting up with me for the last week . . . I hope you enjoyed the programme, notwithstanding the perilous journeys that you had to make from distant parts . . . all the best, Kenneth’.a five-page typescript transcript of an interview given by Pat Osborne, titled,‘These Radio Times, Pat Osborne Section, ‘Housewives’ Choice, etc’, dated 1955, with blue ink annotations throughout in Miss Osborne’s hand. A fascinating insight into Pat Osborne’s contribution as a young pioneering producer for the BBC, and her creation of ‘Housewives’ Choice’, which first aired on the morning of March 4, 1946, for which Pat chose a title, signature tune, and comperes; together with, five related newspaper cuttings; and seven black and white BBC publicity photographs, depicted Pat Osborne with colleagues and guests, including Michael Storm and Alan Ladd, annotated in ink on reverse ‘Television World, Film Time’, many stamped on reverse, various sizes, the largest, 10 x 8 inches. (14).Guy Gibson was the first Commanding Officer of No. 617 Squadron, which he led in the ‘Dam Busters’ raid in May 1943, for which he was awarded the Military Cross. Gibson later commented as a castaway on ‘Desert Island Discs’ that his eighth choice of record, Wagner’s, ‘The Ride of the Valkyries’, reminded him of a bombing raid. Seven months after recording the programme, Guy Gibson aged twenty-six, was killed when the Mosquito he was piloting crashed at Steenbergen in the Netherlands on September 19, 1944. Provenance:Pat Osborne started working for the BBC as a typist at the age of 18 in 1936 until she left the company in the mid-1970s. Pat began to take over the corporation’s programmes which had lost their male producers to Her Majesty’s Armed Forces and by 1946 she had become a highly professional senior BBC producer in her own right.Miss Osborne started the BBC’s radio programme, ‘Woman’s Hour’ and produced numerous programmes including, ‘Housewives’ Choice’, ‘Radio Rhythm Club’, ‘Desert Island Discs’,‘ March of the Movies’, International Hit Parade’, and ‘The Wonderful World of Disney’ broadcasts on Christmas Day to name a few. Throughout her 40 years with the BBC, Pat Osborne made many friends, many of whom included the best-known names in show business. Some rubbing to spine and some wear to covers and edges of indexed pages, otherwise internally clean and bright with strong signatures.

RADIGUET RAYMOND: (1903-1923) French novelist and poet. An extremely rare Autograph Manuscript Signed, Raymond Radiguet, one page, 8vo (originally two oblong 8vo sheets of paper, neatly pasted together at the centre), n.p., n.d. (1919), in French. The manuscript, with a number of corrections and deletions, is entitled Allusions and is an article of appreciation for the artist Juan Gris, stating, in part, ´Juan Gris peint comme tous les peintres, c´est a dire sur de la toile ou du carton ou du bois. Ai-je dit qu´il ne differait pas des autres? Il y a toujours un certain secret professionnel, beaucoup de gens voudraient le connaitre. Moi, je ne pense pas que l´emotion ressentie devant un tableau soit due a la qualite des pinceaux ou des couleurs. Seul le resultat importe. Une route y mène qui s´appelle l´Esthetique......L´horizon est une ligne conventionelle.....Par conséquent rien a craindre, les voleurs ne sauront pas où se cacher. Quelqu´un prononce un mot. On repete: PRISON. Un seul avait entendu le PINSON qui pourtant chante nuit et jour. De même, chacun dit avoir son opinion sur la peinture. Mais tout le monde n´a pas raison. Juan Gris a vu la beaute de tous les jours de la semaine y compris le dimanche. La plus petite de ses natures mortes n´est pas une "etude". Il y a une pipe qu´on fume le soir. La derniere heure. Plus, une guitare; non c´est un violin. Comme tout classique, Gris a le souci des proportions. Je parle des veritables proportions qui sont dans l´esprit et non pas ce que le vulgaire nomme ainsi. Les cocktails sont supprimés. Quand je demande a boire il y a toujours le ciel, ou le siphon qui est de la meme couleur´ (Translation: ´Juan Gris painted like all painters, on canvas, cardboard or wood. Did I say that he was no different from the others? There's always a certain amount of professional secrecy, and many people would like to know. Personally, I don't think that the emotion felt in front of a painting is due to the quality of the brushes or the colours. All that matters is the result. There's a road that leads there, and it's called aesthetics.....The horizon is a conventional line.....So there's nothing to fear, thieves won't know where to hide. Someone says a word. It is repeated: PRISON. Only one had heard the PINSON, which sings day and night. Similarly, everyone says they have an opinion on the painting. But not everyone is right. Juan Gris saw beauty every day of the week, including Sunday. The smallest of his still lifes is not a ‘study’. There is a pipe being smoked in the evening. The last hour. Plus, a guitar; no, it's a violin. Like any classical painter, Gris is concerned with proportions. I am talking about the true proportions that are in the mind and not what the vulgar call them. There are no cocktails. When I ask for a drink, the sky or the siphon is always the same colour´). Autograph manuscripts of Radiguet are extremely rare as a result of his tragically early death at the age of 20 of typhoid fever. With a small red circular stamp at the base featuring the letters PAB to the centre. Some light age wear and an irregularly torn lower edge, not affecting the text or signature, GJuan Gris (1887-1927) Spanish Cubist painter, a friend of Radiguet.The present article was published in the March/April edition of the magazine Sic, founded and published by Pierre Albert-Birot (1876-1967) French avant-garde poet and dramatist who was a defender of Futurism and Cubism.

ERNEST AUGUSTUS: (1771-1851) King of Hanover 1837-51, son of King George III of Great Britain and Ireland. L.S., Le bon frere, Ernest August, one page, folio, Hanover, 2nd February 1846, to the King of the Two Sicilies, in French. The manuscript diplomatic letter acknowledges receipt of a communication informing Ernest Augustus of ´l´agreable nouvelle de l´heureuse delivrance de Sa Majeste la Reine......d´un Prince qui´a recu sur les fonts de baptime les noms de Gaetan Marie Frederic´ (Translation: ´the pleasant news of the happy deliverance of Her Majesty the Queen.......of a Prince who received at the baptismal font the names of Gaetan Marie Frederic´) and further states ´Je prie Votre Majeste d´en agreer mes sinceres felicitations ainsi que l´expression des voeux que je forme pour la prompte convalescence de l´Auguste accouchee et pour le bonheur du Prince nouveau ne´ (Translation: ´I beg Your Majesty to accept my sincere congratulations and the expression of my wishes for the speedy recovery of the august mother and for the happiness of the new-born Prince´). Countersigned at the foot by Eduard Christian von Lutcken (1800-1865) German lawyer and Hanoverian politician. With blank integral leaf. Accompanied by the original envelope wrapper bearing a red wax seal (in two parts). A couple of light stains, only very slightly affecting a few words of text, but not the signatures. About VGFerdinand II (1810-1859) King of the Two Sicilies 1830-59.Prince Gaetan of the Two Sicilies (1846-1871) Count of Girgenti, the seventh child of Ferdinand II and Maria Theresa of Austria. The Count was created an Infante of Spain by his marriage to Isabella, Princess of Asturias.

BARTOK BELA: (1881-1945) Hungarian Composer. A very interesting and lengthy L.S., `Bela Bartok´, two pages, 4to, Budapest, 1st of October 1922, in French. Bartok states in part `C´est avec infiniment de plaisir que j´ai lu votre lettre d´aujourd´hui où vous me parlez de la possibilité de mon voyage à Paris. Mon voyage à Londres est encore plutôt incertain, je crois cependant que sans cela même on pourrait s´arranger très bien de sorte que j´irais à Paris avant ou après la première à Francfort de mes 2 oeuvres pour la scène. J´espère que les honoraires que vous avez l´obligeance de m´offrir suffiront à mes frais de voyage de Francfort à Paris et de retour...´ (Translation: "It was with great pleasure that I read your letter of today in which you speak to me of the possibility of my travel and journey to Paris. My journey to London is still rather uncertain, I believe however that even without that it could be arranged very well so that I would go to Paris before or after the premiere in Frankfurt of my 2 works for the stage. I hope that the fee which you are kind enough to offer me will be sufficient for my travel expenses from Frankfurt to Paris and back...") Further, Bartok refers to the program of the concert and to which ones are his works that he wishes to perform, insisting on a Sonate for violin & piano that he has just finished composing, saying `Quant au programme de ce concert, j´aimerais jouer avant tout ma nouvelle sonate pour violon et piano, au cas où vous pourriez m´assurer d´un violoniste de premier ordre. La sonate est encore manuscrite et c´est seulement au début de Mars que je pourrais vous l´expédier afin que le violoniste ait le loisir de s´en occuper. En tout cas, nous aurons besoin encore avant le concert de 3 répétitions sérieuses...´ (Translation: "As for the program of this concert, I would like to play first of all my new sonata for violin and piano, in case you can assure me of a first-rate violinist. The sonata is still a manuscript and it is only at the beginning of March that I will be able to send it to you so that the violinist has the leisure to take care of it. In any case, we will need 3 more serious rehearsals before the concert...") Further again, Bartok suggests Jelly Aranyi as the solo violinist and forwards her address in London, stating `J´ai écrit la sonate pour elle, je lui en ai envoyé le premier exemplaire et je la jouerai avec elle à un concert de Francfort, et peut-être à Londres...´ (Translation: "I wrote the sonata for her, I sent her the first copy and I will play it with her at a concert in Frankfurt, and perhaps in London...") Before concluding, Bartok suggests performing also on top of his works some of Kodaly´s ones, and recommends as an option the Hungarian quartet, forwarding their address. VG

CONSTANT WAIRY LOUIS: (1778-1845) French valet to Napoleon I. D.S., Constant, two pages, 8vo, n.p. (Paris?), 1806, in French. The manuscript document is an invoice (´Memoire des ouvrages faits et fournis pour Sa Majeste l'Empereur et Roi´) issued by Delille, dyers and cleaners, of 27 Rue des Grands Augustins, for the cleaning of various articles of clothing belonging to Napoleon, described as ´Vingt quatre vestes et vingt quatre culottes de cachimire blanc netoyees. Une culotte de soie blanche netoyee´ (Translation: ´Twenty-four jackets and twenty-four white cashmere breeches cleaned. One pair of white silk breeches, cleaned´) delivered on 30th August 1806, and ´Vingt cinq vestes et vingt cinq culottes de cachimire blanc netoyees. Une culotte de velour de soie blanche netoyee´ (Translation: ´Twenty-five jackets and twenty-five white cashmere breeches, cleaned. One pair of white silk velvet breeches, cleaned´) delivered on 20th September 1806. The total of the invoice amounts to 153 francs, which Constant verifies (´Certifie veritable´) at the foot. At the base of the document, and continuing to the second page, appears an autograph statement signed (´Remusat´) by Auguste Laurent de Remusat (1762-1823) French politician who served as First Chamberlain to Napoleon I. Remusat´s statement, dated at Paris, 27th January 1806, declares ´Verifie et autorisant memoire montant a la somme de cent cinquante trois francs´ (Translation: ´Verified and authorised memorandum amounting to the sum of one hundred and fifty three francs´). With blank integral leaf. VG

SPARK MURIEL: (1918-2006) Scottish novelist. T.L.S., Muriel Spark, one page, 4to, Rome, 2nd June 1979, to Mrs. Siv Lind. Spark thanks her correspondent for their letter and continues ´I have no special preference for any of my novels, but I am sending you a copy of The Takeover, together with a page on which I have made notes for the book (as I cannot break up the manuscript itself), also a signed photograph as you request´, and concluding by wishing Lind the very best success with the Helsinki University Library. None of the enclosures referred to are still present. VG

PICABIA FRANCIS: (1879-1953) French avant-garde painter associated with Cubism. Autograph manuscript poem signed, Picabia, one page, oblong 8vo, Paris, 4th January 1918, in French. The sestet is inscribed at the head Pour Germaine, and reads, in full, ´Tes yeux sont bleus et ton caractere ressemble au mien/ Tu es la plus douce qu´on puisse imaginer/ Tu etonnes les chanteurs de sérénades en Espagne/ Je t´ai comme relique ma petite fille m´est dédiée/ Aussi je vais beaucoup mieux et je pense que demain/ Nous poursuivrons notre chemin dans la rosée´ (Translation: ´Your eyes are blue and your character is like mine/ You're the sweetest thing imaginable/ You amaze the serenade singers in Spain/ I have you as a relic, my little girl is dedicated to me/ So I'm much better and I think that tomorrow/ We will continue our journey in the dew´). Signed and dated at the foot. Some very light, minor age wear and a few traces of former mounting to the verso, otherwise VGGermaine Everling was the mistress of Picabia from 1917-33 and became a central figure in the Parisian Dada movement, writing catalogue prefaces and hosting a Sunday salon for young avant-garde artists in the apartment that she shared with Picabia.

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

ELIZABETH I OF RUSSIA: (1709-1762) Empress of Russia 1741-62. L.S., Elizabeth, in Cyrillic, one page, folio, Saint Petersburg, 24th January 1737, in Cyrillic. The manuscript document is a Decree to the Patrimonial Chancellery, instructing that attention to Piotr Novikov´s horses has to be maintained and that the same money he was receiving when he was working for the chancellery as salary has to be paid in future. Further also instructing that the sum of 150 roubles has to be paid annually to the notary Bogdanov, as well as 800 kilos of flour and oat every four months, first the flour at the beginning of each period and after, at the end of each period, the money. Very small minor age wear, otherwise VG

[CATHOLIC CHURCH]: A fine, early Manuscript Document authorised by three notaries with their individual attractive devices (notarial marks) and subscriptions at the foot, one page (vellum), large folio (approx. 61 x 62.5 cm), given at the church of St. Mary´s in the Field, Florence, 23rd June 1326, in Latin. The document comprises some forty-five lines of bold, dark brown ink text in a very clear, uniform and calligraphic diplomatic charter hand characteristic of the papal chancery, and further incorporates four large uncial capitals, each with filigree decoration, being a certified and authorised manuscript copy of three papal bulls, In quibusdam locis [Clement IV; 29th June 1265], Inter ceteros ordines [Benedict XI; 2nd April 1304], and Super egenum nuper [also Benedict XI; 2nd April 1304], ordered by Thedisius d´Aliotti, Bishop of Fiesole, and authorised by Opizo, Albertus and Marsoppus, notaries of the bishop, all three of the bulls concerning privileges in favour of the Franciscan Order, the first restraining anyone from violating Franciscan churches or property, or exercising violence in them, under the pain of papal displeasure; the second renewing the exemption of the Franciscans from all ordinary ecclesiastical jurisdiction, declaring them to be subject to the papal see without any intermediary; and the third providing for the Franciscan brothers of the province of Tuscany and naming three bishops as conservators of the Franciscan privileges contained in their constitution, in part, ´To all and each to whom the presnt shall come, Tedicius [d´Aliotti] by divine mercy bishop of Fiesole, gives eternal greetings in the Lord. We make it known to you that we have seen, have read and diligently have examined the herein copied original prvileges of the Popes Clement IV and Benedict XI of which two retained their authentic pendant lead bulls on silk cords, and of which the third was sealed with pendant hemp, all of whose examples and contents are contained below, and that we have examined the seals and contents and because we have found these originals, with their true seals and which lacked all suspicion, to agree fully with the present copies, we have commanded these copies to be published through Marsoppus, formerly by imperial authority ordinary judge and notary public [the scribe of the document] of Lord Guidalotti Pintaccius and we have given our authority to this same publication, so that faith may be given to these copies as if they were originals; and to make their credibility and testimony more evident, we have commanded them to be guarded by the appending of our seal [now missing]. Clement, bishop, servant of the servants of God, to his beloved sons, the principal and all ministers, guardians and brothers of the order of brothers minor [i.e. Franciscans], greetings and apostolic benediction. In quibusdam locis......given at Perugia, 29th June, of our pontificate the first year [1265], Benedict, bishop, servant of the servants of God, to his beloved sons, the minister general, provincial ministers and all brothers of the order of brothers minor, greetings and apostolic benediction, Inter ceteros ordines.....given at Rome at St. Peter´s, 2nd April, in the first year of our pontificate [1304], Benedict, bishop, servant of the servants of God, to the venerable brothers, the archbishop of Pisa [Giovanni dei Conti di Poli] and the bishops of Florence [Loterius della Tosa] and Sienna [Raynaldus di Uguccione Malavolti], greetings and apostolic benediction. Super egenum nuper.......given at Rome at St. Peter´s, 2nd April, in the first year of our pontificate.....These letters were given and enacted.....at Florence, at the church of St. Mary´s in the Field, in the year of the Lord from the incarnation 1326, in the ninth indiction, in the time of Our most Holy Lord Pope John XXII.....on the 23rd day of June in the presence of Bartholo, priest of the diocese of Fiesole; Cio, rector of the said church of St. Mary´s in the Field; Opizzo and Pipin, notaries of the said bishop; Tuccio, rector of the church of St. Stephan of the said diocese and chaplain of the said bishop; and other witnesses´. Manuscript docket to the verso. Lacking the seal (two small central holes to the plica indicating where it would originally have been attached). Some very light, extremely minor age wear, a few small insignificant stains, and a couple of very small, minor holes to the intersection of folds, only very slightly affecting a few words of text. About VGThedisius d´Aliotti (d.1336) Bishop of Fiesole, a Roman Catholic Diocese in Tuscany, from 1312-36.Giovanni dei Conti di Poli (d.1332) Italian nobleman and Dominican friar who served as the Archbishop of Pisa 1299-1312 and as Archbishop of Nicosia 1312-32.Loterius della Tosa (d.1309) Bishop of Florence 1303-09.Raynaldus di Uguccione Malavolti (d.1307) Bishop of Siena 1282-1307.The bull In quibusdem locis is listed in Les registres de Clement IV (Paris, 1893) edited by Edouard Jordan (no. 1742, p.499) and in Regesta pontificum Romanorum (Graz, 1957) edited by Potthast (Vol.II, no. 19240, p. 1558). The bull Inter ceteros ordines can be located in Le registre de Benoit XI (Paris, 1905) edited by Ch. Granjean (no. 1231, col. 759) and also in Potthast (no. 25414, p. 2035). The latter bull provides for the Franciscan privileges contained in their constitution, and this constitution is specified in another papal bull which begins Inter cunctas. Inter cunctas was promulgated by Benedict XI in February 1304, two months before Inter ceteros ordines. It revoked the previous constitution of the Franciscans, specified in the bull Super cathedram of Boniface VIII, and redefined the rights of both the Franciscans and the Dominicans, covering such areas as preaching, hearing confessions and burying the dead. The text of Inter cunctas is printed in Le registre be Benoit XI (no. 1170, cols. 724-720). Its importance led to the protection of its execution by at least six bulls, of which this is the one for Tuscany (listed in Le registre de Benoit XI, no. 1314, col. 822). Provenance: The present document was formerly in the collection of C. L. Ricketts of Chicago; see Seymour de Ricci, Census of Medieval and Renaissance Manuscripts in the United States and Canada, (New York, 1935) no. 272, p. 660.

NAPOLEON I: (1769-1821) Emperor of the French 1804-14, 1815. L.S., `Nap´, a bold ink signature, one page, gilt edges, 4to, at the Palace of Saint Cloud, 30th June 1810, to the Duc de Feltre, in French. The handwritten document is a letter dictated by Napoleon, addressed to his Minister of war, and relates to the besieges of the Spanish cities in Catalogne, Tortosa and Tarragone, including specific orders to his Marshals. Napoleon Bonaparte states in part `Monsieur le duc de Feltre, la prise de Mequinenza facilite beaucoup celle de Tortosa, puisque l´Ebre fournit naturellement le moyen de transporter l´équipage de siège; mais il est indispensable que le duc de Tarente fasse le siège de Tarragone pendant que le général Suchet fera celui de Tortosa. Envoyez un officier près du Duc de Tarente pour savoir ce qu´il faut...´ (Translation: "Monsieur the Duke de Feltre, the capture of Mequinenza greatly facilitates that of Tortosa, since the Ebro river naturally provides the means of transporting the siege crew; but it is essential that the Duke of Taranto makes the siege to Tarragona while General Suchet takes in cahrge the siege to Tortosa. Send an officer to meet the Duke of Taranto in order to know what is needed..." Further, Napoleon sends military orders and clearly explains that he wishes to be informed about anything related to the French armies in Catalogne, saying `Voici la saison où la cavalerie peut vivre partout. Je désire connaitre positivement la situation des choses à cette armée. Il faut qu´elle entre en communication avec l´armée d´Aragon. Le duc de Tarente pourra laisser plus de troupes sur ses derrières pour assurer ses communications avec la France...´ (Translation: "This is the season when the cavalry can live anywhere. I wish to know positively the situation of things in this army. It must enter into communication with the army of Aragon. The Duke of Taranto will be able to leave more troops behind him to ensure his communications with France...") Further again, and to a postscriptum, dated in Rambouillet, 10th July 1810, Napoleon orders to swipe all harvests, stating `Le temps de la récolte est arrivé; si le duc de Tarente reste inactif, l´ennemi la coupera et la renfermera dans ses places fortes. C´est le moment d´approvisionner Barcelone, en fauchant tout autour´ (Translation: "The harvest time has come; if the Duke of Taranto remains inactive, the enemy will collect it and confine it to its strongholds. It is time to supply Barcelona, ​​mowing down everything around") Accompanied by the original small manuscript acknowledgement of receipt. Paper with watermark. VGEtienne Jacques Macdonald (1765-1840) Marshal of France. Duc de Tarante.Louis Gabriel Suchet (1770-1826) Marshal of France. Duc d´Albufera. One of the most brilliant of Napoleon´s Generals. Suchet was appointed commander of the Army of Aragon mentioned in the present letter by Napoleon, and Governor of that region. Within two years, he brought the area into complete submission by wise and skillful administration no less than by his valor. In April 1810, he defeated O´Donnell at the Siege of Lerida, then laid siege to Mequinenza in May, as reported on the present letter. Suchet would capture Tortosa on 2nd January 1811, and for his successful Siege of Tarragona from May to June 1811, Suchet was made a Marshal of the Empire by Napoleon on 8 July 1811.

RAY MAN: (1890-1976) American visual artist, a significant contributor to the Dada and Surrealist movements and a renowned pioneering fashion and portrait photographer. The original typescript manuscript of Man Ray´s autobiography Self-Portrait, with numerous manuscript corrections and substantial alternate readings, with accompanying carbon copies of many chapters (also with manuscript corrections), together with a series of autograph and typescript working notes, and further including a few pieces of correspondence between Man Ray and his publishers, The Atlantic Monthly Press. The manuscript, typed by Man Ray himself (the final page bearing the manuscript note ´Typed by Man Ray´) in Paris from 1960-62, is loosely contained in a number of paper folders, each annotated and titled by the artist (designated as a First Draft or First Copy), which include Part I New York (originally The Painter) comprising over eighty pages of typescript manuscript, in a paper folder (extensive and heavy tears to the edges) with manuscript title Self Portrait by Man Ray (first draft) and further marked Part I New York (p. 1-81) at the head. With a second copy of the same, retitled New York, and also including an additional eight pages, originally a continuation of The Painter, but later marked as the beginning of Part II: Paris; nine pages of typescript manuscript in a paper folder annotated by Man Ray 1st Chapter in Part II pp.82-89; sixteen pages of typescript manuscript for a chapter entitled Paul Poiret - The Portrait that was Never Made and marked as pp. 90-106; thirteen pages of typescript manuscript for a chapter entitled The True Story of Kiki of Montparnasse; fifteen pages of typescript manuscript for a chapter entitled Contacts with the Aristocracy and marked as pp. 120-134; and other typescript manuscripts for chapters entitled American & English Writers; Painters & Sculptors; Dada Films & Surrealism; The Depressing Thirties (later altered to The Fateful Thirties and finally retitled as Occupations & Evasions) representing the final chapter of Part II; thirty-two pages of typescript manuscript entitled I Discover Hollywood (Part III) followed by the final chapter, Paris Again (Part IV). In all the typescript manuscript and related carbon copies (some on onion skin paper) amounts to around seven hundred 4to pages, typed to the rectos only, much of the manuscript dedicated to Man Ray´s time in Paris and populated with numerous recollections relating to the Dada and Surrealist movements, as well as his friends and contemporaries including Pablo Picasso, Marcel Duchamp, Francis Picabia, Kiki de Montparnasse (Alice Prin), Lee Miller, Gertrude Stein, Salvador Dali, James Joyce, Tristan Tzara, Paul Eluard, Andre Breton and may others. Also included is an earlier folio typescript manuscript, with holograph corrections, of twenty-eight pages, entitled Paul Poiret (1922), written by Man Ray in Hollywood, California, and dated 15th February 1949 (annotated to the verso of the final page to be rewritten (done Oct. 21-61) see Self-Portait, 1963). Together with Man Ray´s manuscript working notes comprising around forty pages (mainly 8vo) and covering a wide spectrum of individuals and subjects including Pablo Picasso, Dora Maar (´Dora gives up photography for painting, contrary to a book in which a painter, upon seeing Picasso, gives up painting for photography´), Marcel Duchamp (´my oldest friend´) and others, also making more general observations, ´I must keep in mind that I am doing a self portrait, therefore all references to my contemporaries should not be taken as criticism or evaluation of them, but as a clearer portrayal of myself…..After recounting these experiences, controversies, I hope my friends will revise their opinion of me – that I have been too modest – not pushed myself forward enough. Rather it has been the hopelessness of convincing the doubtful ones of the equal value of all efforts – or their futility´, and in a passage headed Ending stating ´If I have spoken at greatest length about those the least known by the majority, it complements my self portrait. At Picasso´s one day a visitor lauded him fervently saying he was the best known living painter – and what did I do, he asked? Evidently I was the best unknown living painter´. Other miscellaneous pages of typescript include an initial summary of Man Ray´s autobiography, in part, ´Following is a table of contents for an autobiography of twenty years in Paris; with some specimen pages on my arrival from New York. Also a chapter on my meeting with Paul Poiret, the famous couturier, in which is depicted his gradual decadence, and the author´s own frustration as a photographer. Each chapter may run from fifteen to thirty pages, which would make about a four hundred page book. There are many other names of personalities that may be included, not mentioned in the table of contents, without unduly prolonging the book, unless other episodes were added, which could easily run the book to seven or eight hundred pages. The use of photographs made in this period is optional. I have all my files and they contain many portraits of the people mentioned. If about twenty were used, it would liven up considerably the book….The photographs are to be regarded as documents, not as reproductions of works of art´, a brief text entitled Originals, Graphics, Multiples, and another entitled Dadamade, dated 8th July 1958. The few pieces of correspondence include a T.L.S., Man Ray, two pages (separate leaves), 4to, Paris, 19th July 1962, to Seymour Lawrence. Man Ray states that he has taken note of his correspondent´s letter ´and modified or deleted passages (in red ink on my copy of the manuscript) enclosing the pages involved [still present]´, explaining ´I have tried to eliminate all references to extra-marital relations as regards Donna [his first wife] and myself, Clem Randolph and Mary Reynolds. The latter is dead; I have lost track of the others including Loupov – do not know whether they are still alive. The names Donna and Loupov are modifications of the actual names: Adon Lacroix and Adolf Wolff´ and further remarking ´I do not know how to treat Donna´s defection and our separation unless I eliminate the whole episode, the most dramatic in my life. If she is still alive I do not think consulting her would arrange matters – she might blow up but it would be without consequence….she is now, if alive, a woman of about 75 years´. Man Ray continues ´There is one other pre-marital episode: my meeting with wife Juliet in Hollywood, but she is signing a waver (sic) to all libel action! I have just thought again on the subject of Donna. She was not really married to Loupov (Wolff) before, had her child with him, and after our separation she lived with other men for sixteen years until on my visit to N.Y. I arranged our divorce to please her. She would not dare to make trouble if all this was brought up…..I regret only having to eliminate the sentence “That night I lost my virginity…..” OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED HERE. PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION. 

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.

BONAPARTE ELISA: (1777-1820) Imperial French Princess, the younger sister of Napoleon Bonaparte. Princess of Lucca and Piombino (1805-14), Grand Duchess of Tuscany (1809-14) and Countess of Compignano, by appointment of her brother. D.S., Elisa, with a paparph, one page, folio, Palais de Lucques, 22nd July 1805, in French. The manuscript document nominates and appoints Eleonora Bernardini ´pour remplir aupres de notre Personne les fonctions de Dame au Palais´ (Translation: ´to perform the duties of Lady of the Palace in our presence´). Countersigned at the foot by Ascagne Mansi, Secretary of State. With blank integral leaf. Some very light, extremely minor age wear, VGEleonora Bernardini (1773-1855) Italian noblewoman who served as a lady-in-waiting and companion to Josephine de Beauharnais while Napoleon was engaged in the Italian Campaign, and later as Lady of the Palace to Elisa Bonaparte.

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

[LOUIS I]: (1372-1407) Duke of Orléans, the younger brother of King Charles VI of France. Louis I, a powerful and polarising figure in his day, attempted to lead the kingdom during his brother´s frequent bouts of insanity, although struggled for control of France with John the Fearless, Duke of Burgundy (upon whose orders Louis was assassinated in 1407). Manuscript Document, one page (vellum), slim oblong 4to (approximately 35 x 6 cm), n.p., 12th May 1393, in Middle French. The medieval document is a quittance of payment relating to six archers in the service of Louis I, named as ´Jeh huche Thomas Jencon Thomas chambre Thomas bel Robin querre et Thomas loguin´ (i.e. Jean Huche, Thomas Jençon, Thomas Chambre, Thomas Bel, Robin Querre and Thomas Loguin), all of whom have received from Godefroy Le Fèvre, an apothecary and Louis I´s valet entrusted with the safekeeping of his coffers, the sum of ninety-seven francs which was owed to them for their wages for the months of March and April, five at the rate of ten francs per month and the other at the rate of fifteen francs per month. With several ink and pencil annotations and also bearing the oval stamp of the archives of the Order of Malta to the lower margin. Slightly unevenly trimmed and with some age wear and a few tape residues, mainly to the verso. GThe present medieval document dates from the Hundred Years´ War (1337-1453), a conflict between the kingdoms of England and France, and a civil war in France, in which Louis I played an important political role, gaining powerful influence.

WALDMAN MAX: (1919-1981) American photographer, principally known for his dance and theatre images. T.L.S., Max Waldman, one page, 8vo, New York, 20th April 1966, to Miss. Lynn Hope. Waldman writes to thank Hope for her involvement in a recent project, in part, ´Your cooperation in this photographic venture has put me forever in your debt. It helps launch an exciting new concept that weds play text (historic and contemporary) with visual layout. Needless to say, your performance, while the first pilot model, will be the star luminary in any series.....you have created a genuine work of theatre art.....Your very enthusiasm was my encouragement´ and further continues to refer to his photographs of the ´theatre art´, ´As of now, I have underwritten the entire cost: a considerable material expense - plus a greater expense in time. It has posed a difficult decision of having to turn aside requests for additional prints. In fulfilling my obligation to the company, about 1,000 pictures will have been given out. Taking individual orders would create chaos: nor could I, in good conscience, charge anyone. On the back of each print is stamped my one request to you. Do not make copies, give them to friends, newspapers etc.: to anyone where control is lost. Please honor this restriction: otherwise, our entire joint efforts will be jeopardized.....´. Accompanied by the original envelope. Together with the original photographs referred to, the set of eight 8 x 10 prints depicting various actors in costume poses from the Royal Shakespeare Company´s Broadway stage production of Marat/Sade, which opened at the Martin Beck Theatre on 27th December 1965. Each of the photographs bear Waldman´s credit stamp to the verso along with a further explanatory stamp stating, in part, ´This photo is given as a personal courtesy to: Lynn Hope (inserted in manuscript) It is the sole property of the photographer and is not to be reproduced.....´. Contained within the original envelope. Further including a book signed and inscribed, being a hardback edition of Zero by Zero Mostel, First Edition published by the Horizon Press, New York, 1965, featuring 152 photographs by Waldman and drawings by Zero Mostel. Signed by Waldman in black ink to the front free endpaper, ´To Lynn Hope - In appreciation of your kind help, Max Waldman´, and dated New York City, April 1966, in his hand. Accompanied by the dust jacket (some tears and age wear). G to generally VG, 2 + 8Lynn Hope was the head costume mistress at the Aldwych Theatre in London and also performed the same duties on the tours of the Royal Shakespeare Company from 1955 onwards.

ROUSSEAU JEAN-JACQUES: (1712-1778) French Writer and Philosopher. An interesting autograph manuscript page by Rousseau, 4to, n.p., [Paris], n.d. (c.1745), in French. The manuscript page, in Rousseau's hand, is from his unpublished work relating to the history of women and laws which he prepared between 1745-51 for his benefactress Louise Marie Madeleine Dupin. Rousseau, in an unusual clean writing, states `On assure qu´actuellement il y a en Provence deux couvents de religieuses chartreuses qui reçoivent de l´´evêque l´imposition des mains, avec les principaux attributs du diaconat – savoir poser l´étole, et chanter l´évangile. A éclaircir´ (“It has been assured that currently there are in Provence two convents of Carthusian nuns who receive the imposition of hands from the Bishop, with the main attributes of the diaconate – knowing how to put on the stole, and sing the gospel. To clarify”) With right and bottom edges slightly trimmed and a small area of paper loss to the left Edge, not affecting the text. G Louise-Marie-Madeleine Fontaine (1706-1799) Madame Dupin. French saloniste, famed for her spirit and beauty who hosted a famous literary salon in Paris from 1733-82 and owned the Chateau de Chenonceau, known as the centre of the most famous French philosophers of the Age of Enlightenment. Dupin employed Rousseau as her secretary and tutor of her son from 1745-51. At the time Rousseau wrote these pages, he was also working as secretary to his benefactress Louise Madame Dupin. The present text corresponds to Rousseau´s work about the history of women, written between 1745 and 1751 for Mrs Dupin, and which would never be published.

ZOLA EMILE: (1840-1902) French novelist. A.L.S., Emile Zola, two pages (written to the first and third sides of the bifolium), 8vo, Medan, 1st June 1883, to ´Mon cher ami´, evidently a publisher and most probably Pierre-Victor Stock, in French. Zola states that his friend must have received from a young man, Louis Desprez, a manuscript entitled L´Evolution naturaliste in which Desprez studied several authors, including Zola himself, and continuing ´Je ne connais pas une de ces etudes, mais je vous les recommande vivement. Voyez donc ce qu´elles valent le plus tot possible, et si le vivre vous parait bien fait, vous m´obligerez en l´editant chez vous - ceci n´est point une recommandation banale´ (Translation: ´I do not know any of these studies, but I highly recommend them to you. So see what they are worth as soon as possible, and if you think the work is well done, you will oblige me by publishing it with you - this is not a trivial recommendation´), further asking if his friend has located an article in Debats and remarking ´Envoyez-le moi donc, pour que je me fouette un peu le sang car les premieres chaleurs m´endorment´ (Translation: ´Send it to me, so that I can whip my blood a bit, because the first heat makes me sleepy´). A letter of good content in which Zola champions the work of the young Louis Desprez. VGLouis Marie Desprez (1861-1885) French Naturalist writer. Desprez first met Zola in 1882 whilst researching L´Evolution naturaliste, a work which was eventually published by Pierre-Victor Stock after being turned down by other publishing houses. This was followed by the publication of Autour d´un clocher in 1884 which resulted in legal proceedings being brought against Desprez for contempt of public morals. The young writer´s trial raised numerous protests and indignation on the part of writers, in particular Zola, and took on considerable importance in the late 19th century when the question of morality and freedom were called into question on numerous occasions. Above all it was the tragic death of Desprez, at the young age of 24, following his incarceration in prison, which aroused controversy at the time and led to Zola´s famous remark ´Ceux qui ont tué cet enfant sont des gens misérables!´ (Translation: ´Those who killed this child are miserable people!´).

CARTER HOWARD: (1874-1939) English archaeologist and Egyptologist who discovered the Tomb of Tutankhamun in 1922. An interesting Autograph Manuscript, unsigned, eighteen pages (mostly written to the rectos of the feint ruled sheets of paper, neatly removed from a notebook), small 8vo, n.p., n.d., in pencil. Carter´s working manuscript, with many deletions and alterations, largely reads in chronological order (the first pages are paginated 1-10) although the later pages contain sentences and paragraphs (some repeated from earlier pages in the manuscript) which are disjointed and were evidently extracted from a larger work, Carter re-writing passages in order to polish his narrative. The manuscript reads, in part,´Perhaps the reader may not be displeased if I here attempt to acquaint him with something of the life during summer residence in Upper Egypt. During the very hot spells [when the thermometer runs between a minimum of 95 F and a maximum of 115 F] and it is sufficiently oppresive (sic) to occasion considerable lassitude, the tedium of each day may be described in a few words. At half-past four in the morning one is awakened by the first glimmer of light perceptible.....Then at 5 pm (sic; am) suddenly the sun´s rise appears above the horizon decking everything with its golden light. The first hour or so of morning possess a charm; but long before midday has arrived this apparent freshness is succeeded by intense sunshine. Everything is turned into heat, and at noon you are obliged to creep under cover.....In the evening you sally forth, but by seven o´clock darkness is complete. The moon, if there be one, then becomes a great luxury.....Generally speaking the heat of the summer months at Western Thebes....is not so oppresive (sic) as one might expect. There is, however, one great drawback, and a source of much discomfort, this arises from sunset winds......Thus, after sundown, when the atmosphere within the house becomes oppressive, at times almost unberable, these winds detract from the comfort of enjoying the evening air.....When young and fit the body easily withstands these physical trials, in fact, the process of perspiring resulting from the heat dissipates most bodily ailments and generally speaking one is fitter in the warmer weather than during the winter. A far greater trial lies in the monotonous life during those summer months in Upper Egypt. The passing of months on end without companionship. The loneliness can at times become intolerable and without some mental interest or occupation it would, I believe, be suicidal. Fortunately for me....I had plenty of interests.....more than enough to keep me occupied......The rising of the Nile, which begins about the period of the summer solstice in June, and attains its greatest height about the autumnal equinox in September. This annual flood breeds thousands - one may say millions without exaggerating - of gnats amd midges, which are attracted at dark by your lamp and make any recreation like reading impossible. Added to these pests at night are the mosquitoes and the terrible sand-fly (of the dipterous family, Psychodidae......During the moonlight nights, which are so glorious in Egypt, I used to sail.....in a small sailing boat......a somewhat crazy craft from which I watched the flocks of pelican fishing......By lying on the bottom of the boat, under the cover of some straw, one could at times bump into these enormous gregarious fish-eating birds......Prior to my post as Inspector-General of the Department of Antiquities for Upper Egypt I was free to spend the hot summer months in Europe or England. But the prosecution of my new duties would not allow of such a luxury......I devoted much of my attention to studying the methods and customs of illicit diggers.....who were inveterate tomb-robbing- In.....this particular section of my work, I soon began to recognise the importance and urgency of a far greater source of trouble than illicit diggers that had to be dealt with, and that was a means of preventing the ever increasing conservation against the destruction of ancient monuments, especially the cutting out of sculptured reliefs and fresco paintings from the walls of tomb-chapels.....to sell to the unsuspecting collector whose primary object was the acquisition of antiquities.....A perfect chapel would be hacked and disfigured in one night.....But though hundreds - nay, thousands - of tombs have been opened, what remains of them today is a few hundred. The rest have been destroyed.....by the modern marauders......The natural inclination was to put steel gates upon all the more important and interesting chapels, which I commenced by doing wherever my funds made it possible. But in most cases this form of protection was of very little avail for the rock in which the chapels were excavated were of a much softer nature than the steel gate, thus to force an entrance was quite easy. As an instance when the actual chapel was built of mud brick our iron or steel gate was as useless as a wooden door. The trouble was the national feeling, or lack of feeling, towards antiquities......Until one could get an adequate law created imposing a heavy punishment in the case of such outrages, these monuments were at the mercy of these inveterate tomb destroyers - there was no adequate means of fighting them........I believe, I acquired to a certain extent their good opinion, and some of their confidence; though not to such an extent as to prevent my having to contend with many official difficulties......except with subjects they thought you were acquainted with.....Clearing that shaft took the greater part of another two months. My description can give you no idea of the tediousness of the work: the fact, for instance, there was no means of arriving at any conclusion as to how deep we should have to go, nor the amount of extra material that would be required, made it all the more wearisome. However, at the end of November, the good news at last came. At the depth of rather more than 100 feet, the workmen reached the bottom and revealed a doorway carefully sealed up with slabs of limestone. I examined it & found that the masonry by which it was closed had been built with due care. I said to the foreman "this, without doubt, is the entrance to the tomb-chamber". He nodded his assent and muttered a prayer. My desire to remove a stone and peep through was almost irresistible. The foreman gave me a look of keen curiosity with which......By that time I was able to converse with the people among whom I was residing with tolerable ease......the diversions of the village.....where at times one can listen to reciters of romances, commit the subjects to memory, they afford attractive entertainment and are often lightly amusing.....I devoted much of my attention to the customs of the illicit digger among the inhabitants, and in an intercourse of two years with these people, I soon found that all the information I received amounted to very little.....´ A manuscript of fascinating content, parts of which are almost certainly unpublished, relating to Carter´s time in Egypt, the challenges he faced, and the discoveries he made. Some light age wear and a few minor faults, generally VGCarter published a number of books during his lifetime, including The Discovery of the Tomb of Tutankhamen (1923)

DANTON GEORGES: (1759-1794) French lawyer, a leading figure in the French Revolution who served as Minister of Justice (1792) and as the first President of the Committee of Public Safety (1793). Danton, who has been described as ´the chief force in the overthrow of the French monarchy and the establishment of the First French Republic´, was executed by guillotine at the age of 34. A rare D.S., Danton (a fine example), one page, folio, Paris, 3rd September 1792, in French. The manuscript document is headed ´Loi du trois Septembre 1792 l´an Quatrieme de la liberte´ (Translation: ´Law of the third of September 1792 in the fourth year of liberty´) and states, in part, ´L´Assemblee Nationale voulant accelerer pour tous les moyens qui sont en son pouvoir, l´arrivee des deux cents pieces de canons que le Ministre de la Guerre se propose de retirer des Cidevant Provinces de Standres et d´Artois et de la fonderie d´Indres, ainsi que de celles qu´il voudrait faire venir de toutes autres parts pour les porter dans le camp qui si forme sous les murs de Paris.......L´Assemblee Nationale apres avoir Decrete l´urgence, decrete que le Ministre de la guerre est autorise a se servir des chevaux de Poste pour la conduite de ces differentes pieces et les faire ainsi arriver a leur destination donner le delai le plus court. Au nom de la Nation, le conseil executif Provisoire mande et ordonne a tous les Corps administratifs et tribunaux que les presentes ils fassent consigner dans leurs registres, lire, publier et assister dans leurs departements et ressorts respectifs, et executer comme loi´ (Translation: ´The National Assembly wanting to accelerate by all the means which are in its power, the arrival of the two hundred pieces of cannon which the Minister for the War proposes to withdraw from the Cidevant Provinces of Standres and Artois and from the foundry of Indres, as well as those which it would like to make come from all other parts to carry them in the camp which is formed under the walls of Paris.....The National Assembly, having decreed the urgency, decrees that the Minister of War is authorized to make use of the horses of the Post Office for the driving of these various pieces and thus to make them arrive at their destination in the shortest possible time. In the name of the Nation, the Provisional Executive Council instructs and orders all the administrative bodies and courts that the present provisions be recorded in their registers, read, published and witnessed in their respective departments and jurisdictions, and executed as law´). Boldly signed by Danton at the foot alongside an official red circular stamp, certifying that the text conforms with the original. Some very light creasing and minimal age wear, VG

DUMAS ALEXANDRE: Fils (1824-1895) French author and playwright. A good A.L.S., A Dumas f, one page, 8vo, n.p., n.d., to [Hippolyte] Souverain, in French. Dumas writes to the publisher with a proposal, ´Dans huit jours j´aurai termine un volume dont il en faudrait faire qu´un seul volume, mais dont quelqu´un vous achetera tout de suite 200 ou 250 exemplaires si vous paraissez vite. Cela vous va-t-il? Si cela vous va vous me donnerez, quand je le serai le manuscrit 300 fr. et nous serons quittes´ (Translation: ´In eight days I'll have finished a volume that would only need to be made into one, but someone will buy 200 or 250 copies from you straight away if you appear quickly. Does that suit you? If it suits you, when I have the manuscript you will give me for 300 fr. for it and we will be even´) and in a postscript further adds ´Repondez-moi categoriquement et ne me dites pas d´aller vous voir. Je n´en aurai pas le temps. Je travaille comme un negre dont je descends, dit-on´ (Translation: ´Answer me categorically and don't tell me to go and see you. I won't have the time. I work like a negro from whom I am descended, they say´). With blank integral leaf. Some very light, extremely minor age wear, VGHippolyte Souverain (1803-1880) French publisher of Dumas and Balzac.

BALZAC HONORÉ DE: (1799-1850) French Novelist and Playwright. Best known for his masterwork novel La Comedie Humaine, a multi-novel collection of novels written over twenty years. A very interesting document, being a contract between Honoré de Balzac and Emile de Girardin for the publication of Balzac´s serial works in the jounal La Presse in Paris. The manuscript contract is signed by Girardin and Balzac confirms the agreement with a sentence in his hand beneath the Editor´s signature, stating `Les frais de correction resteront comme par le passé à la charge de La Presse´ (Translation: "The corrections costs will remain, as done in the past, the responsibility of La Presse."). D.S., two pages, 4to, Paris, 16th April 1839, in French. The contract establishes that Balzac gets engaged very precisely to supply as follows `Mr. de Balzac s´engage à fournir au journal La Presse d´ici au trente et un décembre prochain, et successivement à commencer du 1er Juin, le nombre de cinquante feuilletons formant au moins huit nouvelles dont la dernière pourra au choix de M. Emile de Girardin être insérée partie en Décembre et partie en janvier suivant. Chaque feuilleton pourra aussi, quant à l´insertion dans le journal, être plus ou moins long, mais il sera compté à M. de Balzac à raison de six colonnes de 40 lignes chacune, et lui sera sur ce nombre, payé à raison de cent francs le feuilleton. Une somme de Deux Mille francs lui sera payée le trente Mai prochain à titre d´avances sur le présent engagement pris par lui...´ (Translation: "Mr. de Balzac undertakes to provide the newspaper La Presse by the thirty-first of next December, and successively starting from the first of June, with the number of fifty serials forming at least eight short stories, the last of which may be inserted, at the choice of Mr. Emile de Girardin, partly in December and partly in the following January. Each serial may also, as regards insertion in the newspaper, be more or less long, but it will be counted to Mr. de Balzac at the rate of six columns of 40 lines each, and he will be paid, on this number, at the rate of one hundred francs per serial. A sum of two thousand francs will be paid to him on the thirtyth of next month of May as an advance on the present commitment made by him...") Before concluding, Balzac imposes two conditions which are the last two clauses, stating `Mr. de Girardin s´oblige à mettre en tête de chaque nouvelle un avis indiquant que la reproduction en est interdite. - Mr. de Balzac se réserve le droit de rentrer dans la propriété de ses nouvelles quinze jours après l´insertion dans le journal du dernier feuilleton de chacune.´ (Translation: "Mr. de Girardin undertakes to put at the head of each story a notice indicating that reproduction is prohibited. - Mr. de Balzac reserves his right to take ownership of his stories fifteen days after the insertion in the newspaper of the last serial of each story") Balzac had already published in this way in La Presse his work La Vieille Fille (1836), and after the present contract he supplied and published Les Secrets de la Princesse de Cadigan and also Le Curé de Village. To be noted that the contract did not specify any title, Balzac could write what he wanted and the editor would publish it. And the sentence added by Balzac in his hand, referring to corrections, was really important as Balzac was known for his multiple and last minute corrections, and this meant additional expenses which he did not want to be responsible of. With blank integral leaf. A tear to the centre fold of the front page, right edge, not affecting the text, otherwise G to about VGEmile de Girardin (1802-1881) French Journalist, Publisher and Politician. He was the most successful and flamboyant French journalist of the era. His magazines reached over a hundred thousand subscribers, and his inexpensive daily newspaper La Presse undersold the competition by half, thanks to its cheaper production and heavier advertising. La Presse was a French journal founded in June 1836 by Emile de Girardin. While contemporary newspapers depended heavily on subscription and tight party affiliation, La Presse was sold by street vendors. The initial subscription to La Presse was only 40 francs a year while other newspapers charged around 80 francs. From July 1836 La Presse serialised The Countess of Salisbury, the first novel of Alexandre Dumas père which was such a success that it followed it up with Honoré de Balzac´s La Vieille Fille.

GEORGE III: (1738-1820) King of Great Britain and Ireland 1760-1820. A good D.S., George R, a fine example as King, at the head, one page (vellum), oblong folio, Court at Saint James´s, 6th April 1796. The partially printed document, completed in manuscript, is a military commission appointing John Ready to be a Lieutenant in the 64th (or Second Staffordshire) Regiment of Foot commanded by Major General John Leland. Countersigned at the foot by the Duke of Portland (1738-1809) British Prime Minister 1783, 1807-09 and Home Secretary 1794-1801. With blind embossed paper seal affixed. Some very light, minor age wear and a few very small holes, not affecting the text or signatures, VGJohn Leland (d.1808) Irish-born British General and Member of Parliament for Stamford 1796-1808.

FRENCH LITERATURE: Alexandre Dumas fils (1824-1895) French author and playwright. The personal printed oblong 12mo Visiting Card of Dumas fils, unsigned, featuring his printed name to the centre and address at Avenue de Villiers (Paris) to the lower corner, with three lines of text in his hand, in French, in full, ´Très heureux de m´associer à l´oeuvre de Monsieur Hachtel´ (Translation: ´Very happy to be associated with the work of Mr Hachtel´). A couple of small, light stains to the upper edge; Francois Coppée (1842-1908) French poet and novelist. A.L.S., with his initials F. C., to the recto and verso of his personal printed oblong 12mo Visiting Card, featuring his printed name to the centre, as a member de l'Academie Francaise, and address at Rue Oudinot (Paris) to the base, n.d. (post 1884), to a gentleman, in French. Coppée writes, in full, ´J´ai été obligé d´écourter mon séjour au bord de la mer à cause de l´état de ma santé et je viens de rentrer à Paris très souffrant. C´est vous dire qu´il m´est imposible de lire votre manuscrit. Croyez, je vous prie, à mes sentiments sympathiques´ (Translation: ´I was forced to cut short my stay by the sea due to my state of health and I have just returned to Paris very unwell. This goes to show you that it is impossible for me to read your manuscript. Please accept my kind regards´). G to VG, 2

LOUIS II: (1870-1949) Prince of Monaco 1922-49. L.S., Louis, three pages, small folio, Palace of Monaco, 11th December 1936, to Miguel Mariano Gomez, in French. The manuscript letter is written in an elegant hand and is a diplomatic letter in which the Prince acknowledges receipt of a communication dated 20th May in which Gomez had announced his election as President of the Republic of Cuba for the constitutional period 1936-40, continuing to state ´En remerciant Votre Excellence de cette communication, je la félicite de la haute marque de confiance dont le Peuple Cubain lui a donné un éclatant témoignage et je l´assure que tous mes efforts tendront à consolider et à developer les bonnes relations entre la Principauté de Monaco et la République de Cuba. Je forme des voeux sincères pour Votre bonheur personnel et pour la prospérité de la République´ (Translation: ´In thanking Your Excellency for this communication, I congratulate you on the high mark of confidence to which the Cuban people have given you such resounding proof, and I assure you that I will do my utmost to consolidate and develop the good relations between the Principality of Monaco and the Republic of Cuba. I extend my sincere wishes for your personal happiness and for the prosperity of the Republic´). Three file holes to the left edge of each page, some light overall age toning and minor staining, and with a few traces of former mounting to the edges, GMiguel Mariano Gomez (1889-1950) Cuban politician who was elected President of Cuba in 1936 although only served for eight months, from May to December, before being impeached by the House of Representatives. Gomez subsequently faced a Senate Trial at which he was declared guilty of transgression against the free functioning of the legislative power and removed from power.

LIVERPOOL EARL OF: (1770-1828) British Prime Minister 1812-27 & WELLINGTON DUKE OF: (1769-1852) Anglo-Irish Field Marshal, the Victor of Waterloo, 1815. British Prime Minister 1828-30, 1834. D.S., Liverpool and Wellington, by both individually, one page (vellum), oblong folio, Whitehall, 8th October 1821. The partially printed document, completed in manuscript, is a military commission appointing Edward Barrard to be a Lieutenant and Captain in the 1st (or Grenadier) Regiment of Foot Guards commanded by Frederick, Duke of York. Signed by Liverpool and Wellington at the head in their capacity as Lord Justices, on behalf of King George IV, and further signed by two other Lords Justices, Frederick, Duke of York (1763-1827) British Field Marshal, son of King George III and Commander-in-Chief of the British Army 1795-1809, 1811-27, and Charles Manners-Sutton (1755-1828) British clregyman who served as Archbishop of Canterbury 1805-28. An unusual grouping of signatures. Two large areas of the document have been cut away to the right upper and lower corners, presumably in order to remove further signatures, and the seal is missing. Some light dust staining and age wear, FR

[BRITISH SLAVERY]: GEORGE III: (1738-1820) King of Great Britain and Ireland 1760-1820. Large upper portion of a D.S., George R, as King (a good, large example), one page, oblong 4to (the original document being folio), n.p. (London?), n.d. (between July and November 1791). The manuscript text would appear to be largely complete, and certainly is in its thought, stating ´Whereas Our House of Commons did on the 6th of July last present an humble address to Us that We would be graciously pleased to give such Directions as We in Our great Wisdom should think proper fotr the relief of a Number of distressed black Persons and Persons of Color now in this Country and for sending them to such Place beyond Seas as should by Us be thought best adapted for that Purpose: and to assure Us that whatever Expence We should incur upon this Account Our said House would make good the same. Outr Will and Pleasure is that by Virtue of Our General Letters of Privy Seal bearing date the 5th of Novem[ber] 1760 You do issue and pay or cause to be issued and paid out of any [of] Our Treasure or Revenue in the Receipt of the Exchequer applicable to the Use of Our Civil Government unto Thomas Cotton Esq, or to his assigns the sum of Two hundred Pounds, six shillings and eight [pence]´. With two blind embossed revenue stamps to the left margin. A document of interesting text in which King George III gives financial support from his own Privy Purse for an abolitionist scheme (under the Sierra Leone Company, which was incorporated by Parliament in July 1791) to send back freed black slaves in Great Britain to West Africa, resettling them in Sierra Leone. Some fraying, a few tears, and small areas of paper loss to the edges, GThe growth of the black population in Great Britain in the eighteenth century eventually led to the abolitionist movement spearheaded by the scholar and philanthropist Granville Sharp (1735-1813). In 1772, slavery on British soil was deemed unlawful, largely due to Sharp´s efforts in the case of Somerset v Stewart. This meant that enslaved people who had been living in Britain (often working in domestic households) were liberated. Some became part of a subsection of people living in London in poverty, referred to as the ‘Black Poor’. The Committee for the Relief of the Black Poor was established in 1786 to offer financial and medical aid. It created a plan for the so-called ‘Black Poor’ to settle in Sierra Leone in West Africa. This scheme was supported by the government, as the present document illustrates. The naturalist Henry Smeathman chose Sierra Leone as a suitable location. The new colony was proclaimed as the ‘Province of Freedom’. However, Smeathman exaggerated its potential. The government encouraged the ‘Black Poor’ to join the resettlement scheme, which was financially supported by the Treasury, and issued each person with a certificate as a free citizen of the ‘Colony of Sierra Leone’. This was necessary because slavery was still in operation in Sierra Leone.

WALPOLE ROBERT: (1676-1745) British Prime Minister 1721-42 & PELHAM HENRY: (1694-1754) British Prime Minister 1743-54. Ink signatures by both Walpole (´R Walpole´) and Pelham (´H: Pelham´) on an oblong 12mo piece evidently neatly clipped from a Treasury document, with several partial lines of manuscript text. Signed by both in their capacity as Lords Commissioners of the Treasury and also signed by a third Lords Commissioner, George Baillie (1664-1738) Scottish politician. VG

WILHELM II: (1859-1941) German Emperor and King of Prussia 1888-1918. D.S., twice, as Prince, three pages, 8vo, Potsdam, 9th February 1887, in German. The untranslated manuscript document was signed by the future Emperor of Germany whilst attached to a Regiment of Hussars and relates to an officer named Otto Alfred Schulze, the second and third pages also bearing four other statements (each signed, one by the Prince) regarding Schulze, variously dated at Magdeburg, 11th February 1887, and at Potsdam, 12th February 1887 etc. With address panel to the verso of the bifolium (one corner neatly clipped). About VG

ADAMS JOHN QUINCY: (1767-1848) American President 1825-29. A fine D.S., J. Q. Adams, as President, one page (vellum), oblong folio, Washington, 26th May 1828. The partially printed document, completed in manuscript, is a military commission appointing Alexander Macomb to the rank of Major General from the 24th May 1828 and stating, in part, ´He is therefore carefully and diligently to discharge the duty of Major General by doing and performing all manner of things thereunto belonging. And I do strictly charge, and require all Officers and Soldiers under his command to be obedient to his orders as Major General. And he is to oberve 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 the acting Secretary of War, Samuel L. Southard (1787-1842) American statesman who served as the United States Secretary of the Navy 1823-29 and later as Governor of New Jersey 1832-33, United States Senator from New Jersey 1821-23 & 1833-42, as well as President pro tempore of the United States Senate 1841-42. With a good blind embossed paper seal affixed. Some very light, extremely minor age wear, about EXAlexander 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.

MARIA THERESA: (1717-1780) Holy Roman Empress 1745-80 and Queen of Bohemia 1743-80, the sovereign of Austria, Hungary, Croatia, Bohemia, Transylvania, Mantua, Milan, Lodomeria and Galicia, the Austrian Netherlands, and Parma. A good L.S., `Maria Theresia´, one page, 4to, 24th May 1749, in Latin. The untranslated manuscript document relates to the supply of food at no charge to the people needing it. Signed in bold black ink at the base. With blank integral leaf. Small overall minor age wear, otherwise G to VG

CLAPARÈDE MICHEL: (1770-1842) French General who served under Napoleon Bonaparte in Italy and later distinguihsed himself in numerous battles during the Napoleonic Wars. A.L.S., Claparède, one page, folio (the paper featuring an attractive circular watermark depicting Napoleon), Sedan, 19th March 1812, to Son Altesse Serenissme le prince de Vagram et de Neuchatel Major General (Louis-Alexandre Berthier), in French. The General states ´Conformément a vos ordres, Je me suis rendu dans cette ville et je me suis occupé des objets dont V.A.S. avoit bien voulu me parlez pour la prompte execution des ordres de l´Empereur. J´ai l´honneur de vous adresser, Monseigneur, copie du rapport (n'est plus présent) que j´envoie a S. E. le ministre de la Guerre an réponse a sa lettre du 14 courrant. Je prendrai la liberte, Monseigneur, de vous rendre compte de mes operations afin que V.A.S. y trouve la preuve que je fairai toujours ce qui dépendra de moi pour remplir les intentions de Sa Majesté´ (Translation: ´In accordance with your orders, I went to this town and took care of the matters which V.A.S. had kindly asked me to discuss for the prompt execution of the Emperor's orders. I have the honour of sending you, Monseigneur, a copy of the report (no longer present) which I am sending to H. E. the Minister of War in reply to his letter of the 14th of this month. I will take the liberty, Monseigneur, of giving you an account of my operations so that V.A.S. will find in it proof that I will always do what depends on me to fulfil His Majesty's intentions´). With a manuscript abstract of the text in another hand to the upper corner. Some light age wear and a few minor traces of former mounting, GLouis-Alexandre Berthier (1753-1815) French Marshal of the Empire who served during the French Revolutionary Wars and the Napoleonic Wars and who was chief of staff to Napoleon Bonaparte.

FALLA MANUEL DE: (1876-1946) Spanish Composer. A.L.S., `Manuel de Falla´, four pages, 8vo, Paris, 5th November 1910, to G. Jean Aubry, in French. Falla thanks his correspondent for his letter which has pleased him a lot, and states in part `Ce n´est pas vous qui doit remercier; c´est moi qui vous remercie bien sincèrement de l´accueil plein de bonté que vous et votre si aimable famille ont bien voulu me faire. J´en garderai toujours le meilleur souvenir... Je vous envoie par ce même courrier le manuscrit de mes mélodies. C´est une bien petite chose qui n´a pas une autre valeur que d´être un témoignage de mon amitié.´ (Translation: "It is not you who should thank; it is me who thank you most sincerely for the welcome full of kindness that you and your dear family have been kind enough to give me. I will always keep the best memory of it... I am sending you by this same mail the manuscript of my melodies. It is a very small thing that has no other value than to be a testimony of my friendship.") Further, Falla refers to his correspondent´s project and states `J´apprends avec un vif plaisir vos nouveaux projets au sujet de la musique Espagnole et je crois inutile de vous dire car vous le savez déjà, que je suis tout à votre disposition pour collaborer à votre oeuvre - Merci de l´adresse de Joaquin Nin - Voulez-vous me faire l´obligeance de m´indiquer les journaux (nº et date) qui ont parlé du concert?´ (Translation: "I am very pleased to learn about your new projects on the subject of Spanish music and I think it is useless to tell you, as you already know, that I am at your disposal to collaborate on your work - Thank you for Joaquin Nin's address - Would you be so kind as to indicate to me the newspapers (number and date) that spoke of the concert?") Paper with an attractive Balmoral watermark. VGGeorges Jean-Aubry was the pen-name of Jean-Frédéric-Emile Aubry (1882–1950) French music Critic and Translator. He was a friend, translator and biographer of Joseph Conrad and also close friend of Debussy and Ravel.Joaquín Nin y Castellanos (1879-1949) Cuban Pianist and Composer.

GLYN PHILPOT (BRITISH 1884-1937) PORTRAIT OF ARTHUR CHRISTIE (1895-1975) Oil on canvas Variously inscribed to labels attached to stretcher (verso) 64 x 50cm (25 x 19½ in.)Provenance: Sir Edmund Davis, Australian-South African mining magnate and art collector, who resided at 13 Lansdowne Road and most notably Chilham Castle, Kent Sale, Christie's, 7 July 1939, lot 84 S. Gibbs, Private Collection, purchased from the above for 15gns. Daisy Philpot, the artist's sister Thence by descent to Gabrielle Cross, the artist's niece Henry Christie, Private Collection, UK Thence by descent, to be sold on behalf of the executors of the estate Exhibited: London, Grosvenor Galleries, Glyn Philpot R.A., 1923, no. 32, as ' Portrait study for the Three Kings' London, Tate Gallery, Paintings and Sculpture by the late Glyn Philpot R.A. (1884-1937), 14 July - 28 August 1938, no. 22, as 'Study for the Three Kings' Literature: Daisy Philpot, Manuscript Catalogue of Paintings by Glyn Philpot, c. 1938-57, p. 28 (unseen)This striking portrait by Glyn Philpot depicts Arthur Christie (1895-1975), friend and model of the artist. Philpot was renowned for his skill in capturing character and intimacy through portraiture, making him one of the most sought-after and highly paid society portraitists of his time. However, his most successful works were those created in relaxed, informal settings, where he established a genuine connection with his sitters. In this portrait, Philpot skilfully captures Christie's prominent features including his angular jawline, vivid red hair, intense gaze, defined lips, and prominent brow. The viewer is immediately struck by the intensity of the sitter's gaze, a motif Philpot repeated throughout his works influenced by the great Venetian master, Titian. Philpot greatly admired the work of Titian and actively practiced and taught his techniques at the Royal Academy Schools. Despite the beautiful interplay of light and shadow across the sitter which illuminates Christie the portrait is set against a dramatic dark backdrop which creates a stunning contrast reminiscent in the work of artists such as John Singer Sargent and James McNeill Whistler. Lot 93 was first exhibited in 1923 at Philpot's solo exhibition at the Grosvenor Galleries under the title Portrait Study for the Three Kings. It is believed that the present portrait was a study for The Adoration of the Three Kings (1918), a work exhibited at the Royal Academy that same year and later sold by the Baltimore Museum of Art at Christie's in 1990 to a British private collector. (See Figure 1.)The Adoration of the Three Kings depicts three sumptuously cloaked figures bearing gifts as they arrive at the stable door. The viewer takes the perspective of Mary, Joseph, and the infant Jesus, as the Magi cross the threshold bathed in a golden light. Raised in a devout Baptist family, Philpot's early religious teachings profoundly shaped his life and artistic vision. His interest in biblical themes was evident as early as 1903 when, at just 19, his painting The Elevation of the Host was accepted at the Royal Academy of Arts. This work, depicting the raising of Christ during the Eucharist, reflected his early engagement with Christian iconography from a distinctive and modern perspective.In 1906, Philpot converted to Roman Catholicism, a decision that created significant tension within his family. His subsequent travels through Spain, Portugal, and Morocco deepened his study of Catholic imagery and the works of the Old Masters. These experiences significantly influenced his art, inspiring some of his most powerful religious-themed paintings. By 1929, Philpot had become the first president of the Guild of Catholic Artists and Craftsmen, solidifying his commitment to his faith. However, his devout Catholic beliefs often conflicted with his identity as a queer man-a tension that permeates his body of work. This portrait of Arthur Christie was acquired by Sir Edmund Davis, the Australian-born mining financier and prominent art collector. Sir Edmund Davis was advised by Charles Ricketts and Charles Shannon and built an impressive collection that included works by James McNeill Whistler, William Orpen, and Edward Burne-Jones, some of which were later bequeathed to the Musée du Luxembourg. It is likely that Sir Edmund Davis purchased this portrait from the 1923 Grosvenor Gallery exhibition. The work was later lent by Davis to the Tate Gallery's Paintings and Sculpture by the Late Glyn Philpot exhibition in the summer of 1938.Following Sir Edmund Davis' death, the portrait was sold at Christie's alongside other notable works from Davis' collection, including Rodin sculptures, a lead figure by Philpot, and paintings by James Pryde and James McNeill Whistler. The work was eventually acquire by Philpot's sister, Daisy Philpot and thence by descent to Gabrielle Cross, the artist's niece. Philpot frequently returned to certain models, portraying them in various roles and guises throughout his career. Among his most notable muses was Henry Thomas, whom he met in 1929. It has been suggested that Arthur Christie may have also been the model used for the Angel Gabriel in The Angel of Annunciation (1925) and for The Transfiguration of Dionysus before the Tyrrhenian Pirates (1924). Condition Report: Please contact pictures@dreweatts.com for a full condition report. 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* Stuart-Wortley (Archibald James, 1849-1905). Breaking Waves, Cornish Coast, circa 1880's, oil on canvas, original artist suppliers embossed oval metal plaque to verso 'James Lanham, Artist's Colorman, St Ives, Cornwall' and contemporary manuscript note of artist's name and address attached to verso (slightly damaged); 'A. J. Wortley, Fre? Lea, Wilford Lane, Bridgford, Nottingham' to verso, two small puncture holes to right edge, one similar minute puncture to upper centre with small glue repair to verso, 91.5 x 112 cm (36 x 44 ins) later moulded wooden frame 100 x 132 cm (39.3 x 51.9 ins)QTY: (1)NOTE:Archibald John Stuart-Wortley (1849–1905), British painter and illustrator. Although renowned for his portrait and sporting art, Woortley created notable landscape paintings such as From Wharncliffe Crags looking towards the Derbyshire Moors, 1875, exhibited at the Royal Academy in 1875 (sold Christie's London, Victorian Pictures, 3rd June 1999, lot 152 (£11,500).The entry in Kelly’s Cornwall directory in 1889 lists James Lanham (1848-1931) as an ‘Artists’ colorman, china, glass and earthen ware dealer, general ironmonger & cutler, general draper & furniture dealer, & ale & porter bottler…, wine & spirit merchants’. His gallery was a vital hub for the artistic community in West Cornwall, being one of the few venues where local artists could exhibit their work.

* Jackson (Samuel Phillips, 1830-1904). A Dead Calm far at sea, 1858, fine large-scale watercolour on paper, showing a ship in calm waters, signed and dated lower left, some light brown discolouration notably to the upper right, 62 x 96 cm (24.5 x 37.75 ins), period gilt gesso frame, glazed (frame size 73.5 x 104.5 cm), with two original manuscript labels to verso, one inscribed (probably by the artist) 'A dead calm far out at sea, S.P. Jackson, 1 Cambridge Place, Clifton, Bristol', the other titled with a poemQTY: (1)NOTE:According to William Benjamin Owen, Jackson's strength lay in firm and careful execution, and in restrained harmonies of tone and colour. In such early work as his Hazy Morning on the Coast of Devon (1853) he favoured restful sunlight effects. His handling of grey mist and clouds always skilfully interpreted the placid West Country atmosphere (DNB).A fine exhibition-sized watercolour in period frame. This work is recorded as one of the earliest by Jackson; his Devon and Cornish seascapes won the praise of John Ruskin.

* Attributed to John Linnell (1792-1882). Couple admiring the crenellated round tower at Bruce Castle, Tottenham, London, oil on board, depicting a lady and gentleman walking down a path beside a picket fence, whilst admiring the round tower, modern manuscript attribution label to verso, 22.5 x 17.5 cm (8 7/8 x 7 ins), modern painted moulded frame 27 x 22 cmQTY: (1)NOTE:The painting depicts the Tudor brick tower, part of Bruce Castle, Tottenham, London, constructed in 1514 from locally made bricks. Sir William Compton (1482-1528), Groom of the Stool and a royal favourite of Henry VIII, was Lord of the manor and during his upgrades of Bruce Castle added this tower to the estate. The original use of the tower is unknown, but suggestions have been made that it was possibly a hawks’ mews (a home for keeping hawks for hunting) or part of a structure supplying water to the house.

* Baglione (Giovanni, 1566/71-1643/44). Young couple in contemporary dress, black chalk on pale grey-brown laid paper, with touches of white chalk, early manuscript number 174 in brown ink to centre of top margin, and ‘l 225’ in brown ink to lower right corner, inscribed in pencil to verso (in a later hand) ‘Del Cavalier Baglione’, sheet size 298 x 224 mm (11 3/4 x 8 7/8 ins), hinge-mounted to a larger sheet of 18th century laid backing paper, with elaborate presentation title and inscription in Italian in brown ink above and below the drawing, giving the artist’s name above, and a long biographical note below, old inscribed number in brown ink to upper left corner: 161, some marks and soiling to the backing sheet with a few short closed marginal tears to margins (not affecting the drawing itself), the backing sheet with ruled framing lines around the drawing, backing sheet 49 x 34 cmQTY: (1)NOTE:Provenance: Private Collection.Giovanni Baglione worked mainly in Rome, his mature style typical of the early Roman Baroque, whilst also retaining elements of his early training in the Central Italian tradition of disegno. Between 1621 and 1622 he was in Mantua as the court artist to Duke Ferdinando Gonzaga. Baglione is best known as the author of the Vite de’ Pittori, Scultori, Architetti, ed Intagliatori (Lives of Painters, Sculptors, Architects and Engravers), first published in 1642, one of the most important contemporary sources for artists in Rome at this time. The artist is also famous due to his suit for libel in August 1603 against Caravaggio, Orazio Gentileschi and other painters in connection with some unflattering poems then circulating in Rome the previous summer. Caravaggio’s testimony during the trial is one of the few documented records of his opinions on art and his contemporaries.The present drawing, in which the chalk has been applied lightly and with shaded areas creating a sfumato effect, depicts an elegant young couple in contemporary dress, with two other figures behind, and may be a study for a wedding procession or similar subject.

* Strickland Family Archive. A collection of approximately 200 drawings, late 18th-early 19th century, by various members of the family, comprising 25 finely executed botanical preparatory studies, in partial watercolour and pencil (believed to be by Juliana Strickland), and approximately 175 pencil sketches and studies, mostly of historical buildings and landscape scenes, the majority on loose sheets, some in sketchbooks (one disbound), or in portfolios (one titled in ink manuscript 'Mrs Freeman's Sketches'), many captioned, some dated, together with: several ink manuscript letters, lists etc. by the Strickland family (especially Strickland Freeman and his wife Elizabeth), one dated 1798, unsigned and describing a tour of the country, visiting various estates including Woburn, another similar, dated 1817 and describing a tour around Devonshire, with accompanying itinerary; empty envelope addressed to 'Mr Freeman, Fawley Court'; a paper bi-fold roughly titled 'Monsters', containing numerous ink blot insects and animals; ink manuscript notes regarding oil painting, the materials used and their preparation; a pencil manuscript list of people met with notes about them (eg. 'good humour & honor' [sic], 'mate of the Perseverance East Indiaman', etc.), a small folder of leaf skeletons together with ink manuscript notes on how to make them, and a few silhouettes, also a folder containing 24 Chinese Export? watercolour drawings of a red plant (seaweed?) and 26 watercolour drawings of oysters?, some with Chinese annotations in ink manuscript, most with English ink manuscript annotations, apparently regarding prices, quality of the materials, and possible use of the red seaweed for making buttons, plus: a single folio sheet advertisement for 'John Holl, Bookseller, Printer and Stationer, High-Street, Worcester', circa 1790, printed on both sides with details of publications, pocket-books and almanacks, sealing-wax and wafers, musical instruments, colours and materials for drawing, painting &c., playing and printing cards, etc., also advertising a large selection from 'Holl's Genuine Patent Medicine Warehouse', including items for coughs, nervous disorders, for the stomach, for weaknesses, Dr. Hill's Herbal Medicines, etc., ornate woodcut printer's device to recto, both sides with outer typographical border, with some unrelated artworks and prints, comprising: an album of 14 sketches by Harry J. Johnson, some watercolour, some pencil; and another 17 items, sketches and prints, various conditions and sizesQTY: (A carton)NOTE:This collection of drawings and manuscripts comes from the archive of Apperley Court, Gloucestershire, the home of Henry Eustachius Strickland (1777-1865), his sisters Juliana and Charlotte, and his daughter Frances. The family members involved in this collection are believed to include Juliana Sabina Strickland (1765-1849), Elizabeth Freeman née Strickland (died 1821), and Frances Strickland (1803-1888). Possibly also Charlotte Strickland (died 1833) and John Henry Strickland (1818- ).The places drawn include: Bristol, Aysgarth Force, Fountains Abbey, Windermere, Richmond, Matlock, Warwick Castle, Battle Abbey, Valle Crucis Abbey, Cambridge, etc.Three female members of the Strickland family, Julia (also called Juliana), Charlotte, and their niece Frances were good watercolourists. Charlotte and Juliana were sisters who provided the 'exquisite' botanical illustrations for the work Select Specimens of British Plants, edited by their cousin and brother-in-law Strickland Freeman. Many of the pencil drawings are by their sister Elizabeth, who married Strickland Freeman of Fawley Court near Henley, in 1781.

* Bligh (Theodosia Sophia, 1821-1898). Self Portrait, 1848, oval miniature watercolour and gouache on ivory, head and shoulders portrait of a young lady with crimped and ringletted dark hair, wearing a blue dress with lace-trimmed neckline, a large stand-up lace ruff, and a lace cap, with a blue enamel cross around her neck and matching drop earrings, 7.5 x 6.4 cm (2 7/8 x 2 1/2 ins), gilt moulded and brown velvet mount, gilt moulded frame (32 x 28 cm), some losses, near contemporary manuscript label on backboard 'Aunt Theo Bligh daughter of Edward Bligh of Brittas painted by herself in Paris, during the Revolution in 1848, when her father would not allow her to leave the house', with another somewhat faint manuscript label above stating the sitter as Theodosia BlighQTY: (1)NOTE:Ivory Act Submission Reference: 6Q68NLKN.A very finely painted self portrait. Theodosia Bligh was born in Horsham, Sussex, the daughter of Edward Bligh of Brittas, County Meath, Ireland, and Sophia Eversfield. She married Edward Tredcroft in 1850, in Saint George Hanover Square, Middlesex. She died in Bedminster, Somerset at the age of 77. How Theodosia came to be in France during the Revolution of 1848 we have been unable to discover, but it may have been thanks to her father's prudence that she was able to return to England and live a long life.

* Mignard (Nicolas, 1606-1668). Odysseus defying the Sirens, Odysseus and Circe & Odysseus Escaping Polyphemus, 1637, etchings on laid paper, after the frescoes of Annibale Carracci (1560-1609), published by Pierre Mariette (1596–1657), Latin text below the image, later 18th-century manuscript title in ink to upper margins, each with 'bunch of grapes' (within a double circle) watermark, with margins, some dust soiling and old handling creases, plate size 26 x 44.7 cm (10 x 17 1/2 ins), sheet size 35.5 x 51 cm (14 x 20 ins), together with fourteen further engravings after Annibale CarracciQTY: (17)

* Vannini (Nella, early 20th century). Santa Maria Maddalena, after Perugino, circa 1900, fine gouache on vellum, signed, after the original work by Pietro Perugino (1446-1523), manuscript inscription (partially indistinct) to frame verso 'Nella Vannini / Firenze Via Palazzuolo(?) / Telef [...] / S. Maria Maddalena / del Perugino / Galleria Palatina / Palazzo Pitti / Firenze', vellum size 9 x 7.2 cm (3 1/2 x 2 3/2 ins), in a contemporary slim metal frame (9.5 x 7.6 cm) QTY: (1)NOTE:A miniature copy after the famous painting by Perugino in the Pitti Palace, Florence.

* Da Trento (Antonio, circa 1510-1550). The Virgin and Child with Saint John the Baptist (Madonna of the Roses), after Parmigianino, circa 1527-1530, chiaroscuro woodcut on laid paper, printed in two blocks in black and pale olive green, minor surface marks, sheet size 192 x 238 mm 97 5/8 x 9 3/8 ins), black painted frame, glazed, with manuscript notes on the work to verso in the hand of Michael JafféQTY: (1)NOTE:Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.Bartsch XII.56.12; Boccazzi, Antonio da Trento Incisore, Trento, 1962, page 59. Naoko Takahatake, The Chiaroscuro Woodcut in Renaissance Italy (2018), pp 98ff, number 26.See also Fondazione Giorgio Cini ALU.0961.1 for a discussion of the variant printings of this woodblock.This print is one of four listed by Vasari as made by Antonio da Trento in collaboration with Parmigianino, in his workshop in Bologna in 1527-1530.

* Heriot (George, 1766-1844). The Waterfall of Scaleforce near Crummoch Lake, Cumberland, 1819, watercolour on paper, 173 x 265 mm, antique-style gilt wood frame, glazed, with printed label for Ruskin Gallery,11 Chapel Street, Stratford-on-Avon to verso (stating that the work is inscribed and dated verso 1818), original manuscript title in brown ink (presumably by the artist) pasted to verso of frame, together withGlennie (Arthur, R.W.S., 1803-1890). Cutting Marble in a Quarry, watercolour on paper, sheet size 17.4 x 26.1 cm (6 7/8 x 10 1/4 ins), gilt frame, glazed, (37.5 x 45 cm) with Abbott & Holder label to versoQTY: (2)NOTE:Geroge Heriot produced picturesque watercolour views of both in England, on the Continent, and also in Canada, where he took up the office of deputy postmaster general at Quebec in 1799. As an officer cadet at the Royal Military Academy, Woolwich, he was instructed by the foremost topographical artist of the time Paul Sandby. He is the author of Travels through the Canadas (1807), and A Picturesque Tour made in the years 1817 and 1820 through the Pyrenean Mountains.

Large Handwritten Legal Document Relating to the Byron Family,Large velum legal document written in 1844 concerning the family of George Anson Byron, 7th Baron Byron. comprising 43 pages, manuscript on velm with stamps mostly for 1844, wax seals to top page, pages 68cm x 59cmGeorge Anson Byron, 7th Baron Byron (1789–1868), was a British naval officer and diplomat, best known for his role in returning the body of King Kamehameha II of Hawaii to his homeland. A cousin of the famed Romantic poet Lord Byron, George Anson Byron inherited the barony after the poet’s death in 1824, as the poet had no legitimate male heirs.Byron's naval career saw him serve in the Napoleonic Wars, but his most notable mission was in 1824 when he commanded HMS Blonde on a diplomatic voyage to Hawaii. The Hawaiian monarch and his queen had died of measles while visiting Britain, and Byron was tasked with escorting their remains back to the islands. During this voyage, he conducted scientific observations and helped foster diplomatic ties.Although less famous than his literary cousin, George Anson Byron left a legacy as a naval officer and statesman, bridging British diplomacy and Pacific exploration in the early 19th century.

An archive of photographs belonging to Mr Alex. K Macpherson, General Director for the mission administration at the headquarters in Shanghai, items includeA photo album of photographs taken in the early part of the 20th century, each photograph with manuscript title, photographs taken in FENGHWA, Tientai, Pootoo Island, Sinchang, Chengsien, including a panorama of the 1922 flood, and photographs of damaged buildings, Cinese Foreign Relief comitte, Chenghsien, Fenghwa, Chapei, showing anti British poster, Taichow, Wen-Ling, Hwangen, ShaohingSecond album not annotated, showing (presumed) the journey aboard ship to China, with many photographs of ChinaA large collection of loose photographs many with manuscript descriptions to the reverseAn early colour photograph titled in pencil ‘The Burning of Chapei, Chinese suberb of Shanghai as seen from our roof.A number of Chinese documents printed on rice paper, including a passport with translation and other documents.Large hand drawn map on rice paperIllustrations on rice paperCopy of Alex K Macpherson’s obituary: ALEX. K. MACPHERSONWE REGRET TO record the death of Mr. A. K. Macpherson, formerly Assistant China Director, at Aberdeen in Scotland on January 11th. Mr. George Scott, sometime his colleague in Shanghai, writes the following tribute. The last fourteen years of Mr. Macpherson's active service on the field-which began in 1904 at the age of twenty-seven-were years of increasing responsibility; first as Assistant Superintendent of East CHEKIANG, then as through Superintendent, and finally his appointment in 1936 by the General Director to assist in the Mission Administration at the Headquarters in Shanghai. Fours years later, his executive ability, administrative gifts and rich spiritual experience gained for him the still more onerous task of Regional Director of the Mission's work in the Eastern and Central Provinces.Although for some years he had been resident in Shanghai the Churches in CHEKIANG seized every opportunity to show their love and appreciation for his years of ministry among them. How often have we gone to his office or his home and found him with a Chinese guest, usually a CHEKIANG Christian on business in Shanghai, whose visit would be incomplete without calling on the beloved Mr. 'Meh.'The chief link with the missionaries in his region was corres- pondence. Mr. Macpherson's etters were never stereotyped. He realized his fellow-workers were, for the most part, isolated in inland towns and cities, and by his letters to them he sought to stimulate their minds and refresh them by opening windows through which they might get draughts of re-vitalising air from sources often beyond their reach. By well-chosen excerpts from some book he himself had found helpful, or by provocative paragraphs from current literature he fed their hearts and minds. His advice in matters pertaining to the work was the fruit of his own varied experience and spiritual maturity. He was GOD'S man, in GOD's place fulfilling the purpose of GOD for his life.He rejoiced in the growing strength of the Chinese Church, for as missionary, Superintendent and Regional Director, all his energies were bent towards the development of Chinese leadership and a strong indigenous church.He delighted in good music, and it was a source of deep satis- faction to him to complete the revised C.I.M. Chinese Hymnary just before hostilities were intensified in the Shanghai area. In company with others, Mr. Macpherson was subjected by the Japanese to two-and-a-half years' internment. The inevitable strain and physical hardships of this experience greatly impaired his health, and whilst his spirit was keen, zestful as ever, he never fully recovered from the effects of those internment years. We humbly thank GOD for the years of fruitful service gladly given for the LORD and China, and it is with the sense of the loss of an honoured worker, a staunch friend and loyal colleague, we extend our sympathy to the bereaved members of the family.

Albumen Print, Att. Alfred Burton, Fijian Man, Att. Alfred Burton, Figian Man, albumen print c1870, with manuscript title ''Figian Man", image of seated warrior, image size 14.5cm x 19.4cm, board size 28.2cm x 23.8cm

Maull & Polyblank, Albumen Print of Frederick Walter Simms, F.R.A.S.,Maull & Polyblank, the image, with arched top mounted on period paper with manuscript title 'F. W. Simms, F.R.A.S.' the the base of the image, depicting a seated gentleman next to a Smith Beck & Beck, No.1 folding microscope with Varly stage, image 155mm x 208mm, in modern card mountFrederick Walter Simms (24 December 1803 – 27 February 1865) was a British civil engineer, known for his association with the Greenwich Observatory. He was the brother of William Simms (1793–1860), who, alongside his partner Edward Troughton formed the company of scientific instrument makers Troughton & Simms.Before joining the Greenwich Observatory in 1830, Simms apprenticed as a surveyor and contributed to the Trigonometrical Survey of Ireland. His tenure at the Observatory began when Thomas Glanville Taylor departed for the Directorship of the Madras Observatory. By 1835, Simms' responsibilities, as listed by John Pond, included observations with the Zenith Tube alongside John Henry Belville, occasional work with other instruments, proofreading printed observations with Henry, and overseeing the publication process of the annual volumes of Greenwich Observations. While Pond commended Simms as "very able and diligent," he also noted irregularities in chronometer rates, which eventually led to expectations of retirement.Despite being paid a modest salary supplemented by earnings from navigation lessons and surveying tasks, Simms found the financial arrangement insufficient. His dissatisfaction culminated in his resignation on 21 October 1835, shortly after the arrival of the new Astronomer Royal, Airy. Airy, in his autobiography, remarked that Simms had hoped for the position of First Assistant, a role for which Airy deemed him unfit.Following his departure from the Observatory, Simms pursued a new career path as a railway surveyor and engineer. In 1836, Simms commenced his role as a resident engineer with the South Eastern Railway Company, embarking on various significant projects, including the construction of the Bletchingley and Saltwood tunnels. He authored several books on surveying and tunnelling and produced the 1838 Map of The Parish of Greenwich in the County of Kent for the Tithe Commissioners.In 1846, the East India Company, seeking to expand railway infrastructure in their territories, approached Simms to serve as their consulting engineer in India. Despite grappling with health issues exacerbated by the climate, Simms briefly sojourned in Mauritius before resuming his duties. Among his responsibilities was overseeing the comprehensive survey and mapping of Calcutta, primarily conducted by local assistants.Upon concluding his tenure with the East India Company, Simms returned to England in 1851, his health notably deteriorated due to the harsh conditions in India. He subsequently retired from active professional life.

John Bell, The Principles of Surgery, 1801,John Bell, Surgeon, The Principles of Surgery in Two Volumes: Volume First - Of the Ordinary Duties of the Surgeon; Volume Second - A System of Surgical Operations, 1801, hand coloured plates, velum binding with manuscript title to spine J Bell Surgery, some pages loose, 674pages, light spotting and browning, Large Quarto 31cm x 25cmJohn Bell (1763-1820) was a pioneering Scottish surgeon and anatomist, recognized for his groundbreaking contributions to the field of surgery. Bell was born in Edinburgh and trained in the medical sciences during an era when surgery was emerging as a distinct scientific discipline. He was an outspoken advocate for the advancement of surgical techniques, emphasizing precision, anatomical knowledge, and the importance of reducing patient suffering.His vivid and detailed writings revolutionized surgical education, offering an anatomically accurate and practical approach to surgical practice. Bell’s illustrations, many of which he created himself, brought his works to life, providing unprecedented clarity for medical students and practitioners. His critical stance on the inadequacies of contemporary surgery often drew controversy, but his legacy as a reformer and educator is undisputed. Bell’s works continue to be referenced for their historical importance and their role in transforming surgical practices.Book Description: Published in 1801, The Principles of Surgery is a seminal two-volume work that delineates the state of surgical science at the dawn of the 19th century. Volume First focuses on the ordinary duties of the surgeon, addressing critical aspects of wound care, ulcers, fistulas, aneurysms, fractures, and military and hospital duties. Volume Second offers a comprehensive system of surgical operations, detailing procedures such as lithotomy, trepanning, hernia repairs, hydrocele treatment, amputations, and more.This large quarto edition, printed in Edinburgh, features an engraved frontispiece and is bound in modern half leather with marbled boards. Bell’s precise descriptions and clear emphasis on anatomical foundations make this work both a practical manual and a scholarly treatise. It also contains valuable insights into the duties of military surgeons, reflecting the challenges of surgical practice in a time of frequent warfare. A highly influential text in the history of surgery, it is essential for collectors of medical history and 19th-century scientific works.

WWI Photograph Album Relating to HMS M.L. 212 a beautifully written album compled by Frederick Charles Jensen titled 'Ships That Pass', the album with photographs each mounted oposite a page of descriptive manuscript text, the opening text reads 'ML212 This boat was commissioned in the latter part of 1916/ Like her sister ships she was designed for a speed of 25 knots. When fully loaded this was never reached. They were intended for work in shallow waters favoured by the submarines then in use. As the range of these increased so did the value of the ML decresase.', images include the sailors abord the ship, the ship in dock, ML213, gunnary armament of an ML, bridge & deckhouse, the galley, ML463, ML518, ML313, radio room & equipment, engine rooms, Devonport sea plane, HMS Kayarra, use of hydrophones, Paravanes - torpedo, mines, depth charge explosions, U107 captured submarine in Weymouth dock, S.S.Z49, United States battle cruse Arizona, Japanese Destroyer, HMS M.31, Mona Queen, along with a small white metal frame with portrait engraved H.M.M.L 212, and 2 medals engraved 16131D.A. F.C.Jenson. D.H. R.N.R. in a card case marked the same

A 21-page handwritten manuscript detailing the Benin Expedition as told by Commander Stuart Nicholson. In January 1897, a diplomatic mission from the Niger Coast Protectorate to the Oba of Benin met a brutal end when its members were ambushed and massacred. The British government, considering this an act of treachery, swiftly ordered a punitive military expedition under the command of Admiral Sir Harry Rawson. The objective was to capture Benin City and bring those responsible to justice.The letter details Nicholson’s firsthand experience as part of the Headquarters Staff, describing the intense logistical challenges, including the harsh jungle conditions, disease, and limited water supply. The British force, composed of 1,200 Royal Navy personnel, marines, and native troops, endured a grueling five-day march through dense bush while engaging in continuous skirmishes with Benin warriors. Despite strong resistance, the expedition ultimately reached Benin City, where they encountered harrowing evidence of human sacrifices. Following fierce combat, the city was captured, and large quantities of ivory and bronze artifacts were seized. The account also describes the subsequent fire that devastated Benin City, marking the final collapse of its resistance and sealing its fate under British control.Also included is the original letter to Commander Stuart Nicholson, promoting him to the rank of Commander in Her Majesty’s Fleet for special services rendered in the Benin Expedition. See Lot 134 for the Benin medal awarded to Admiral Stuart Nicholson for the Benin Expedition. Admiral Stuart Nicholson, CB, MVO (1865-1936), was a distinguished officer of the Royal Navy whose career spanned over four decades, characterized by significant contributions to naval operations and strategy. Born on October 11, 1865, Nicholson entered the Navy in July 1878, marking the beginning of a lifelong dedication to naval service.Nicholson's early career was marked by participation in notable historical events, such as the Anglo-Egyptian War of 1882, where he was awarded the Egypt Medal and the Khedive's Star. His exemplary performance in these early roles led to a rapid rise through the ranks, with a notable assignment as a torpedo specialist—a role that leveraged his technical expertise and strategic acumen.One of the defining moments of his career came during the Benin Expedition of 1897. As part of this punitive expedition against the King of Benin, Nicholson was tasked with managing the water supply for the forces, a critical role that earned him a medal and a promotion to commander. This assignment underscored his ability to handle logistical challenges under pressure, further enhancing his reputation within naval circles.Throughout his career, Nicholson held several key positions, including Assistant Director of Naval Intelligence and Chief of Staff to Admiral Sir Edmund Poë in the Mediterranean. His leadership skills were particularly evident during World War I, where he commanded the 6th Battle Squadron of the Home Fleet. His efforts during the war were recognized with the prestigious appointment as a Member of the Royal Victorian Order by King Edward VII in 1908, and later, the award of the Companion of the Bath (CB) in 1916 for his indefatigable service.Upon retiring in 1920, Nicholson remained active, dedicating time to the Royal National Lifeboat Institution and pursuing his hobby in photography, which also supported charitable causes.Nicholson's life was not only marked by his naval career but also by his personal life, where he was a family man, married to Althea Badeley, and a father. His legacy in the Royal Navy is remembered for his strategic impact, leadership, and significant contributions to naval operations and intelligence. His collection of awards and medals serve as a testament to his distinguished service and commitment to his country.