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Gary Birtles signed 12x8 colour photo. English retired footballer who played as a forward in the Football League between the 1970s and 1990s. He is best known for his time at Nottingham Forest, during which he won the 1979 and 1980 European Cup Finals. He was also capped three times by England. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Dads Army 8x10 comedy photo signed by actor Ian Lavender who played Private Pike in the series. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Morgan Fairchild actress who starred in the TV soap 'Dallas' signed sexy 8x10 photo. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Lynda Carter signed 10 x 8 inch colour photo. American actress, singer, and beauty pageant titleholder who was crowned Miss World USA 1972 and finished in the top 15 at the Miss World 1972 pageant. Carter is best known as the star of the live-action television series Wonder Woman, in the role of Diana Prince / Wonder Woman. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Michael Douglas signed 10 x 8 inch black and white photo. Douglas is an American actor and producer who is well known for his roles in Fatal Attraction 1987 , Wall Street 1987 , its sequel Wall Street: Money Never Sleeps 2010 . Black Rain 1989 , The War of the Roses 1989 , Basic Instinct 1992 , Falling Down 1993 , The American President 1995 , The Game 1997 and Solitary Man 2009 . Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Dads Army 8x10 comedy photo signed by actor Ian Lavender who played Private Pike in the series. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Football Lee Dixon signed 12x8 colour photo pictured with the premier league trophy while playing for Arsenal. Lee Michael Dixon born 17 March 1964 is an English retired professional footballer who played as a right-back for Arsenal Dixon was also capped 22 times for England. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Nigel Clough signed 12x8 colour photo. English professional football manager and former player who is currently the manager of Mansfield Town. Playing predominantly as a forward, but later in his career used as a midfielder, Clough was capped by England 14 times in the early 1990s. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Harry Potter 8x10 movie photo signed by actress Melita Clarke who was a Wizard in the films. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Star Wars 8x10 photo signed by actor Jerome Blake who has also signed the names of all the characters he's played in various Star Wars films!. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

John Le Carre. The Spy Who Came From Elsewhere. Gollancz. 1st edition 1963. Dust wrapper, slightly frayed, spine faded.

Camerer, Cuss & Co., a Victorian ebonised bracket timepiece, the 7 1/2" white dial with Roman numerals, the movement by Winterhalder and Hofmeier, the back pencil written C.C &Co, Broad St, the case with floral scroll spandrels, the back cover with trade label, pendulum, key.Winterhalder and Hofmeier were started by Anton Winterhalder in Schwarzenbach, Germany in 1810, taking Anton Hofmeier into partnership in 1850, with the business finally closing on the death of Winterhalder's last son Linus in 1910.Camerer Cuss & Co. was a partnership of David Kuss and Andrew Kammerer who came to London from Germany in 1845 to import and sell Black Forest clocks. During WWII it merged with Hallpikes of Kensington and is still trading.

World War II; German invasion of Russia, an album of prints from watercolours made by German war artist Fritz Brauner who accompanied the Panzer divisions

A quantity of 12" vinyl records to include The Traveling Wilburys, Chuck Berry, Jimmy Smith, The Beach Boys, Dusty Springfield, The Who and similar, also included in the lot are two Elvis videos.

F.A CUP FINAL MENU Celebration banquet at the Cafe Royal 5/5/1956 on the day of the game in honour of Man City defeating Birmingham in the F.A Cup Final at Wembley. Blue and white tassel. Signed by Bert Trautmann who broke his neck, Bill Leivers and L.J.McDowall (manager). Generally Good

WEST HAM UNITED Autographed paperback book Just Like My Dreams by John Lyall, issued c1990, signed in blue biro pen to the title page by West Ham's eleven players who beat Arsenal in the 1980 FA Cup Final, including Billy Bonds, Trevor Brooking, Frank Lampard and Alan Devonshire. Good.

BREADON FOOTBALL BOOKS COLLECTION ONLY Twenty eight books including Ipswich Town - The Men Who Made The Town and 27 Breadon books, Southampton 1987 X 2, Stockport County 1994, Rangers 1996, Manchester City 1987, Wolves 1994, Leeds United 1996, WBA 1993, Aston Villa 1988 X 2, Bradford City 1988, Plymouth Argyle 1989, Everton 1993 X 2, Millwall 1991 X 2, Blackburn Rovers 1990, Leyton Orient 1990 X 2, Grimsby Town 1989, York City 1990 x 2, Mansfield Town 1990, Exeter City 1990 X 2, Birmingham City 1989, Nottingham Forest 1991. MUST BE COLLECTED Good

1999 CRICKET WORLD CUP FINAL / SHANE WARNE AUTOGRAPH Score card for Australia v Pakistan 20/6/1999 at Lord's, signed on the front by Warne in black marker, who was man of the Match for taking 4-33. Very good

PRESS PHOTO / JOHNNY BERRY / MARK JONES / MAN. UTD.    Original 8" X 6" B/W Press photo with stamp and incorrect paper notation on the reverse for Mark Jones, the Busby Babe who lost his life at Munich in 1958. However the photo is of Johnny Berry in training dated 5/4/1957.     Good

LIVERPOOL Autographed 12 x 8 col photo of Jimmy Case celebrating with team mate David Fairclough who had just scored the winning goal against Everton in a First Division encounter at Anfield in 1976, signed by both players in black marker. Good.

MAN UNITED Autographed 12 x 8 col photo of Steve Coppell leaping upon team mate Stuart Pearson who had just scored the opening goal in a 2-1 victory over Liverpool in the 1977 FA Cup Final, signed by both players in black marker. Good.

ORIGINAL FOOTBALL CONTRACT 1931 Contract for John Morton in 1931 at Gainsborough Trinity who in the same year was transferred to West Ham United for £600. Whilst with West Ham he gained one England cap in a 5-4 victory over Czechoslovakia in 1937. Usual horizontal folds. Generally good

MIDDLESEX V SOMERSET 1894 Scorecard for Sherwin's Benefit match at Lord's starting on 14/5/1894 with pencil scores entered. A.E. Stoddard opened the batting for Middlesex who was captain of the England team and also played Rugby Union for England and the British Isles. Generally good

THE FOOTBALL WHO'S WHO Hardback book with 320 pages issued in 1935 and Topical Times magazine, 1500 Football Stars and All About Them. Fair to generally good

LIVERPOOL FC PHOTOS Collection of photographs , most of which include Jack Balmer who played for Liverpool between 1935 and 1952. One shows him on tour with Liverpool in 1948, some head and shoulders of him plus him playing cricket and presenting Darts trophies in 1954., also included is a signed photograph of Billy Liddell and a more modern 11" x 9" photograph of Ian St John leaving the pitch after a game against Leicester which could well have been the Cup Semi-Final at Hillsborough in 1963 judging from the elation on the face of Gordon Banks and the despair on the face of St John. Fourteen photographs in total including a couple of duplicates, most are postcard sized, a few have press stamps on reverse, some are smaller . Also included is a lengthy letter written to Balmer from a Liverpool supporter praising his attributes which is probably late 40s, early 50s. Generally good

BARNSLEY Barnsley postcard 1907, English Cup team, head and shoulders pictures of all the players who are named . Good

Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings.  Viceroyalty work.  Peru.  18th century. Red cedar wood interior, the exterior is covered in tortoiseshell and mother of pearl as well as iron fittings.  Its structure consists of flat sides, an upper lid and lower drawer.  There is a filing drawer for storing small objects inside. 40 x 65 x 35 cm.There is an almost identical example to this one at the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires, and in the Prado Heudebert family collection in Lima.With regard to the origin of this type of furniture, which has the same origin and decoration as this one, it is very interesting to read the article by Professor Gustavo Curiel, published in the Mexican Institute of aesthetic research magazine "Imágenes", (http://www.esteticas.unam.mx/revista_imagenes/imago/ima_curiel05.html) about the analysis of a magnificent dresser which is kept at the Meadows Museum in Dallas :“With regard to the place where this furniture originated (characterised by rich tortoiseshell inlay, mother of pearl and silver thread) it has been repeated, without any kind of foundation, that this type of furniture was made in Mexico City, in the Philippines, on the Indo-Portuguese coast and in continental Asia.  Recently, Jorge Ribas has confirmed, after meticulous study and many comparisons, that this type of furniture was made in the Viceroyalty of Peru.  This very singular style of production of alt-luxury furniture continued until the 19th century.  On the other hand, the evident Asian influence on the decoration of the dresser should be highlighted.  There are Korean flowers and other elements derived from the repertoire of Asiatic ornamentation.”The quoted article by Professor Curiel continues: “In the decoration we can make out shapes that are reminiscent of Korean flowers, that Jorge F. Ribas has related to lacquered Korean pieces of the Joseon Dynasty.  These same floral motifs are present on inlaid boxes and are, one can affirm, the “signature” of one particular workshop’s creations, which indicates that there was heavy activity in the workshop which managed to make these distinctive decorative forms which have endured over time.”  Jorge Rivas, who Professor Curiel alludes to in his text, is currently the curator at the Frederick and Jan Mayer Center at the Denver Art Museum, and head of the Latin American Art department.As María Campos Carlés indicates, also in “Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII” (An enduring legacy of Hispano-America.  The furniture of the Viceroyalty of Peru of the 17th and 185h centuries): “Oriental influence on the furniture of the Peruvian and Mexican coasts began in the mid-17th century when Japanese craftspeople arrived in the Americas, whether Christian or not, they were specialised in Namban lacquer.  They brought with them knowledge of how to use lacquer combined with mother of pearl and other materials.  They trained European artisans in these skills, as well as converted Muslims and indigenous people, all of these with artistic experience and who learned the technique quickly, being then able to plan, design and build luxurious furniture which became known as “enconchados” and which came to replace the Namban style furniture …It is important to highlight the natural inclination that the artisans of Arab origin that lived in the Viceroyalty of Peru had for covering flat surfaces with abstract motifs.  They can be discovered in the way that ornaments and lattices became geometrical and repeated, reflecting a Spanish influence seen in Hispanic-Mudejar furniture. 

Viceroyalty School. End of 18th century."Genealogy of the fourteen Inca kings and the conqueror Francisco Pizarro"Fifteen oil paintings on canvas. Relined. 84 x 63 cm each. With export license granted.Complete series comprising the fourteen Inca Emperors: Mancco Ccapac, Sinchi Rocca, Lloqque Yupanqui, Maita Ccapac, Ccapac Yupanqui, Inca Rocca Yahuar- Huaccac, Viracocha, Pachacutec, Inca Yupanqui, Tupac-Yupanqui, Huaina Ccapac, Huascar-Inca and Atahuallpa, and the portrait of Francisco Pizarro.Accompanied by an X-ray fluorescence spectrometry (EDXRF) which was applied to the study of the pictorial technique, dating the paintings to the 18th century.An important collection which comprises all of the 14 Inca sovereigns. It begins with the founder of Cuzco, Mancco Ccapac, and goes through to the last of the emperors, Atahualpa and ends with a portrait of Francisco Pizarro. This is a chronological depiction of the portraits of those who governed the Inca Empire before the Spanish Conquest.They are depicted as dressed in the uncu, an exquisitely woven tunic, the mascaipacha (symbol of power as governor of Cusco and Tahuantinsuyo) and a version of the llautu, the traditional royal headdress, complete with red forehead fringe.The geometric textile patterns in all the paintings are reminiscent of tocapu designs on traditional Inca noble clothing, signifying rank and status.The imperial attire is completed with the gold topayauiri or sceptre, topped with a type of plume as a continuation in an axe shape on one side and an awl on the other.Francisco Pizarro is shown in his European armour.The iconic genealogy if the Incas is associated with an engraving made by the clergyman Alonso de la Cueva Ponce de León (1684-1754) in 1725, approximately.This series of genealogies was at its peak after Independence, due to the desire of the indigenous elites in Cuzco to return to their position.The Denver Museum has a series of sixteen portraits in its collection which reflect our fifteen, with an additional portrait of Mama Occollo, the principal wife of the Inca Manco Cápac, both founding heroes of the Inca Empire.As the Denver Museum notes in its index cards on these portraits: This series of genealogies that show the former governors of the Inca Empire “is not only a family tree but a political tool. Since proof of aristocratic Inca blood entitled people to special privileges and freed them from paying taxes in the Spanish Colonial period, paintings were used to document and assert this heritage.” (https://www.denverartmuseum.org/en/object/1977.45.1)As stated in the Cervantes Institute’s biography of the Inca Garcilaso de la Vega:“According to the traditional account determined by the Inca Garcilaso in his Royal Commentaries of Peru, the founding fathers Manco Cápac and Mama Ocllo, were born in the waters of Lake Titicaca, and founded the city of Cuzco, the centre of Inca development, in the place revealed by the sun god (Inti) after a pilgrimage that began in the south of the Sacred Valley of the Incas. Another version of the origin myth, collected in the 16th century by Juan de Betanzos (Narrative of the Incas, 1551), attributes it to the four Ayar brothers and their respective partners. (http://www.cervantesvirtual.com/portales/inca_garcilaso_de_la_vega/autor_cronologia/) There are differences in the dates attributed to the different Inca kingdoms.Taking the chronology published in the Cervantes Institute’s website as a base, which is taken from Inca Garcilaso de la Vega (Cuzco, Governorate of New Castile, 1539 – Cordoba, 1616) the 14 incas and their periods of governance, all represented in these genealogical portraits, were:From the period 1200-1438, before the Inca state was established, was the founderI-Mancco Ccapac (1200-1230) and those who succeded him, II-Sinchi Rocca (1230-1260)III-Lloqque Yupanqui (1260-1290), IV-Maita Ccapac (1290-1320), V-Ccapac Yupanqui (1320-1350), VI- Inca Rocca (1350-1380), VII- Yahuar- Huaccac (1380-1400), VIII-Viracocha (1400-1438),IX- Pachacutec, (1438-1471) marked the beginning of the Historical Inca Empire with the Kingdom of the Inca Pachacutec, conqueror of the Chanca states.X- Inca Yupanqui (Modern historians have removed his reign from the official list of Inca rulers).XI- Tupac-Yupanqui, XII- Huaina Ccapac (1481-1523) on his death, the Inca Empire was divided between his two sons, Huascar-Inca (1523-1532), Sovereign of the northern region, and Atahualpa (1532-1533), Inca of the southern territories.The period from 1528-1532 saw a civil war between Huascar and Atahualpa over control of the Inca Empire, which ended in August 1532 in Atahualpa’s definitive victory over Huascar in the Battle of Cotabamba. Atahualpa was crowned Inca in Cajamarca.In 1533, the trial and execution of Atahualpa took place. Francisco Pizarro conquered Peru in 1534 and was governor of Peru / New Castile from 1534 to 1540.The Inca Empire passed into Spanish hands, although Tupac Hualpa (1533), Manco Inca (1533-1536) and Paullu Inca (1537-1549) reigned nominally and were crowned by the conquistadors.Examples of this genealogy in individual portraits that are similar to these, as well as those already mentioned in the Denver Museum can be found in:- Lilly Library, Indiana University, Bloomington, Indiana.- The individual portrait of Atahuallpa is kept at the Ethnological Museum of BerlinAs well as these series of genealogies in sets of individual portraits, genealogies were also painted in one sole picture in which, depending on the period in which they were executed, the series of governors of the Inca Empire previous to the Spanish conquest was followed chronologically by portraits of the Spanish monarchs.There are magnificent examples of this type of painting, such as those kept in:- Lima Cathedral Museum, dated circa 1725.- The Pedro de Osma Museum in Lima, dating from the late 18th century / early 19th century.- The Carmen de Maipu Museum in Chile, which describes the intention of these types of pictures in the painting’s index card: “the inclusion of the Spanish monarchs responds to the necessity for uniting power, as a strategy of legitimisation and control in colonial society, given that, through these portraits the Spanish monarchs would assimilate the power and the deity that the Inca represented. And, on the contrary, the Incas were considered to be the equals of Spanish royalty, in that way being accepted and acknowledged in their role as former heads of state. The social function of these pictures varied depending on how the historical and political facts were presented.”- The Lima Museum of Art, has an interesting set mounted as a screen, described in their catalogue in this way: “This emblematic piece condenses different stages of art in Peru, it evokes the pre-Colombian past in the shape of a genealogy of the Incas, a theme which came up in the Colonial period to affirm the idea of legitimate continuity between the former Inca Empire and the Spanish Empire. In this case, however, the absence of the Spanish monarchs responds to a clear republican vindication. The coats of arms of Cuzco and of the Peruvian Republic preside over a sequence of Inca governors beginning with Manco Capac, the legendary founder of the empire, and closes with a figure on horseback identified as the "Liberator of Peru"- Convent of Saint Francis in Huamanga, Peru.- Beguinage of the Convent of Our Lady of Copacabana, Lima.Provenance: - Private collection, Florence. - Private collection, Portugal.

Mother of pearl and metal gunpowder flask. Gujarat. India. 19th century. Decoration formed by borders of pieces of mother of pearl nailed down in the shape of triangles alternating with rectangles. 28,5 x 10 x 10 cm. It appears to be proven that the use of mother of pearl for artistic ends began in China, arriving to Asia Minor and the Islamic East through the Silk Route. It was in the north and west of India (North of Gujarat), where mother of pearl was most used, in two techniques: collage on resins or on lacquer (imported technique) or studding (Indian technique). It was Ottoman merchants who mostly traded with this type of object. This type of object was made both for local use and for exportation to Europe. The rarity of the material and the delicate and distinctive craftsmanship meant that they were objects prized by collectors, for their cabinets of curiosities. There is a similar piece in the Lisbon Museum of Oriental Art. Bibliography: Catalogue from the exhibition "La Route des Indes". Musée des Arts Décoratifs. Bordeaux, 1998.

Colonial School. 18th century. "True portrait of Our Lady of Valvanera" Oil on canvas. 142 x 106 cm. The iconography is based on the anonymous engraving dedicated to the General of Earth and Sea, Iñigo de la Cruz Manrique de Lara Ramírez de Arellano (1673-1733). In it, the clothing of the Virgin Mary, the position of the tree, the chest in the foreground and the eagle of the throne can be seen, as well as other details. In front of a large tree trunk rests Our Lady of Valvanera —patron of La Rioja— richly dressed with the Christ Child on her lap and a fruit and a flower in her left hand as bees fly around them, an iconographic symbol. According to legend, the image of Our Lady of Valvanera, which had been carved by Saint Luke and brought to Spain by Saint Peter’s disciples, was discovered by a repentant bandit named Nuño Oñez who had become a hermit. After an angel appeared to him in his cave in the mountains of La Rioja to show him the way, he did not hesitate to make the journey. A priest named Domingo from the Segovian village of Brieva was willing to help him, and their quest came to a successful end in the hollow of an enormous oak tree marked by a honeycomb and a spring which emanated from its roots; three elements which currently identify the patron of La Rioja. Scholars who studied this miracle later linked it to the iconography of Heaven, identifying the tree, fountain of grace, with Christ and linking the bee hive with the faithful congregation and the brightly coloured flowers and birds with Heaven. On discovering the image of the Madonna, the pair formed by Nuño and Domingo moved her to the Hermitage of Santo Cristo, the first place where it was worshiped and where more than a hundred hermits had care over it. It is not made clear in the legend from La Rioja why the Montenegrin Nuño Oñez converted to Christianity. It was attributed to the piety shown by a worker who he was planning to ambush, as the curator Ronda Kasl suggests in his description of the “True portrait of Our Lady of Valvanera” (1770-1780), in the Metropolitan Museum collection. Another story tells that his repentance was caused by the accidental death of his son while trying to get water from the opening of the cave by the river Najerilla (near Anguiano, La Rioja), where father and son lived. This painting can be linked with the similar painting of Our Lady of Valvanera which presides over the main reredos in Saint Maron’s Cathedral, which is currently a Maronite church following Syriac orientation, but until 1922 was the Parish church of Our Lady of Valvanera and, before that, the "Combento de Balvanera". The Franz Mayer museum has a painting by Juan Correa which depicts Our Lady of Valvanera, dated circa. 1665, which has very similar iconography to this one, Also, at the Metropolitan Museum in New York, there is another version by an anonymous artist from Cuzco, dated circa 1770-1780, which was donated by James Kung Wei Li, in memory of the Ambassador and Mrs. Ti-Tsun Li, of the Republic of China, in 2018.

Attributed to Hendrick Douverman (Circa 1480 - 1543, Kalkar) "Saint Margaret and the dragon" Carved oak wood sculpture. Germany. Circa 1520. 120 x 46 x 34 cm. Douverman, who was probably born in Dinslaken, was an artist who ranks among the most significant sculptors from the Lower Rhine region of his time. This marvellous image has similarities to the “Saint Ursula” by Douverman, dated circa 1520, which forms part of the collection at the Rijksmuseum in Amsterdam. It can also be linked to the Mary Magdalene which can be found in the Church of Saint Nicholas in Kalkar and the Saint Margaret dated circa 1520, which can be found at the Staatliche Museum in Berlin. Due to the similarity in style between his early sculptures and those by Dries Holthuis, he is believed to have been trained in Holthiuis’ workshop in Kleve. The basis for this assumption is the carving of Saint John the Evangelist as well as that of Saint Andrew, created circa 1504 for the series of apostles at the Church of the Minims and the Immaculate Conception in Kleve. There is documentation from 1510 showing that he accepted the commission for the Virgin Mary reredos for the Church of the Assumption in Kleve, which was largely destroyed in 1944. He opened his first workshop in Kleve in 1514, having to abandon it a year later due to “immoral conduct”, whereupon he installed himself in Kalkar. This is where he made his most important sculptures, especially those made for the Church of Saint Nicholas, such as the marvellous reredos of the seven pains of Mary, for example, which was created between 1518 and 1521, and which is considered to be his crowning and best-known work. It is made up of 150 carved figures in an infinitely detailed architectural and landscaped space. Stylistically, his creative period between 1510 and1540, evolved from late gothic to mannerism, without ever giving up any of the fundamental characteristics of Lower Rhine reredos of the late Middle Ages. Douverman renounced polychrome in his sculptures from his first reredos onwards, just as his contemporary Tilman Riemenschneider did.

Andalusian school, ca. 1700.Carved and polychrome wood.Measurements: 74,5 x 46 cm.Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, it is usual to represent his naked body, albeit with the genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of representation of the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" -not to be confused with the Maiestas Domini or the Pantocrator-), Christus patiens ("resigned" -not to be confused with the Christ of patience-) and Christus dolens ("suffering" -not to be confused with the Vir dolorum-). The triumphans is represented alive, with his eyes open and his body erect; the patiens is represented dead, with his will totally emptied (kenosis), his head bowed, his face with a serene expression, his eyes closed and his body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in his mouth (curved). The work in question, belonging to the Andalusian school of the eighteenth century, shows us an image full of pathos. A balanced and perfectly studied anatomy denotes the artistic ability of the sculptor, who reflects like no one else the suffering that Christ endured in his last seconds of life.

Spanish School; XVII century."St. Vincent Ferrer".Oil on canvas. Relined.Presents perforations, missing a cleaning test and repainting.It has a frame with faults.Measurements: 57,5 x 45,5 cm; 71,5 x 58 cm (frame).San Vicente Ferrer was a Spanish Dominican of the late fourteenth and early fifteenth century, thaumaturge, preacher, logician and philosopher. He preached in Spain and in various cities of Europe, especially in Italy, following the famous vision he had in the city of Avignon in 1398. He was followed by multitudes, and performed numerous miracles. Very important was his active and decisive participation in the Compromise of Caspe, where Fernando de Antequera was elected king of Aragon. Moreover, it is said of him that all those who listened to him understood him, whether they were Castilians, French, Basques, Italians from Piedmont and Lombardy, etc., despite the fact that he always preached "in his Valencian language". To this gift of languages alludes precisely the flame that is usually represented above his head. Called the Dominican thaumaturge saint, St. Vincent Ferrer enjoys a very widespread cult, which led already at an early date to a wide development of his iconography, which is very diverse. Traditionally he is represented with the habit of the Dominican order, with the tonsure, an arm raised pointing to heaven and a parchment on which is read "Timete Deum et date Illia honorem quia venit hora iudicius eius" ("Fear God and give him glory, because it is already the hour of his judgment", AP. 14, 7). He can also appear with a flame on his head, wings on his back, an angel playing the trumpet, a book and a lily.In the work that stands out for its sobriety, the author presents us with a half-length portrait with the saint's face turned to the right and his hands raised in an attitude of prayer. Only the legends that are arranged in the upper part of the composition indicate the identity of the protagonist.

Attributed to JUAN DE ANCHIETA (Azpeitia, Guipúzcoa, c. 1540 - Pamplona, 1588)."Christ tied to the column".Carved and polychrome wood.It presents jumps in the carving and polychromy.The pedestal is from a later period.Measurements: 32.5 x 9 x 9 cm; 43 x 17 cm (with pedestal).In this round sculpture Christ is represented being tied to a low column, an episode belonging to the cycle of the Passion. It is a highly dramatic theme, but not narrative, designed to incite the faithful to be moved by the physical suffering of Christ and to admire his acceptance of the misfortunes he must suffer to redeem humanity. The scene takes place in the Praetorium of Jerusalem, the center of Roman power, where Christ has arrived for the second and last time, after passing through different instances. He is exhibited before the crowd ("Ecce Homo"), who preferred to free Barabbas rather than him and, either before or after this exhibition, he is stripped of his clothes and tied to a pillar, where he will be subjected to mockery regarding his alleged crime, being "king of the Jews", and tortures, including scourging and crowning with thorns.Due to its style, this work can be attributed to Juan de Ancheta, a baroque sculptor belonging to the Romanist School, a current of Spanish mannerism that shows a marked influence of the Italian authors who worked in Rome, especially Raphael and Michelangelo. The Romanist style is especially characterized by its monumentality and powerful anatomies, features that are clearly seen in this carving. In fact, Juan de Ancheta was probably trained in Italy, given that his style reveals influences from Italian masters, although there is no documentation to support this trip. By 1565 Ancheta was in Valladolid, but shortly thereafter he was in Briviesca, presumably collaborating with Gaspar Becerra on an altarpiece for the church of the convent of Santa Clara. In fact, Ancheta's style shows the influence of Becerra's mannerism, enriched with the classicism of contemporary Roman sculpture. It is believed that the sculptor returned to work with Becerra around 1558, on an altarpiece.

Dutch school; second third of the 18th century."Moses rescued from the waters".Oil on canvas. Relined.Presents repainting and restorations.Measurements: 91 x 122 cm.We see in this canvas a biblical scene, the finding of Moses newborn in the waters of the Nile by the daughter of the pharaoh. The story is told from a classicist point of view, with the women represented as nymphs bathing naked in the river. In addition, on the left side the space opens in depth to the landscape, and lets us see the entablature and pediment of a classical temple.Also at the formal level it is a classicist work, with the figures placed as a frieze, organized in two planes close together forming a triangular composition that leads to think, in fact, in the reliefs of a classical pediment. The apex of this pyramidal structure is the head of the pharaoh's daughter, who bends down and points towards the newborn, guiding the viewer's gaze towards him. Also typical of the classicist baroque is the perfectly ordered scenery, closed in the foreground on the right side and open towards the background on the left, allowing more light to pass through. The chromatism, of pearly flesh tones, reveals the knowledge of the Venetians, while the general warm intonation tells us of the Caravaggist influence even in the followers of classicism.Regarding the theme represented, this is based on the Old Testament (Exodus 1:15-17), it tells how there is an ordinance by the Pharaoh, to kill all males born, the mother of Moses, Iojebed, hid her baby (Moses) for three months, but once she could not hide him anymore, she decided to introduce him in a wicker basket filled with mud and tar, to deposit it in the Nile, hoping that the child would be found. During the crossing of the waterproof basket, Moses was followed by his sister Miriam, until finally, he was found.

Spanish mannerist school; mid-sixteenth century."Virgin and Child".Oil on panel. Cradled.It presents faults in the painting and has a longitudinal crack in the board.Measurements: 41 x 31 cm; 49 x 36,5 cm (frame).Image of devotional character, in which the artist presents the Virgin Mary holding Jesus Child on her arms. The attention is concentrated exclusively on the two personages, who are located in the center of the composition. The mother and son are in front of the viewer, and the Virgin is also leaning on a set of nines, a characteristic that may be linked to the representation of the advocation of the Virgin as Immaculate. However, in this case she holds the child in her arms, establishing a maternal and protective relationship between them. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between them, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production.Due to the technical characteristics, such as the modeling of the forms, the tonalities used, the type of composition, and even the aesthetic details used in the treatment of the canvases that make up the scene, this work can be inscribed within the mannerist school. Due to the aesthetics of this work, it is worth noting that it has certain similarities with the works of Pedro de Campaña (Brussels, 1503 - ca. 1580), a Flemish painter who trained in Italy. He settled in Seville in 1537, where he developed part of his career and achieved great fame. However, in 1562 he returned to Brussels. His work was characterized by a Flemish aesthetic base, although due to his trips to Bologna, Venice and Rome, he received the aesthetic influence of the Italian country, especially Perin del Vaga, and Polidoro de Caravaggio.

Andalusian school, probably from Granada, late seventeenth century."St. Anthony of Padua with Child".Oil on canvas. Relined.The painting has slight jumps, dirt and restorations.Measurements: 84 x 61 cm; 99.5 x 75 cm (frame).The present canvas represents St. Anthony of Padua as a young beardless man with a large monastic tonsure, dressed in a long Franciscan habit, holding the Child Jesus in his arms. The presence of the infant, which alludes to the vision he had in his cell, became the most popular attribute of this Franciscan saint from the 16th century onwards, being especially popular in the Baroque art of the Counter-Reformation.St. Anthony of Padua is, after St. Francis of Assisi, the most popular of the Franciscan saints. He was born in Lisbon in 1195 and only spent the last two years of his life in Padua. After studying at the convent of Santa Cruz in Coimbra, in 1220 he entered the Order of Friars Minor, where he changed his first name, Fernando, to Antonio. After teaching theology in Bologna, he traveled through southern and central France, preaching in Arles, Montpellier, Puy, Limoges and Bourges. In 1227 he participated in the general chapter of Assisi. In 1230 he was in charge of the transfer of the remains of St. Francis. He preached in Padua and died there at the age of 36 in 1231. He was canonized only a year after his death, in 1232. Until the end of the 15th century, the cult of St. Anthony remained located in Padua. From the following century he became, at first, the national saint of the Portuguese, who placed under his patronage the churches they built abroad, and then a universal saint. He was invoked for the rescue of shipwrecked sailors and the liberation of prisoners. The Portuguese sailors invoked him to have good wind in the sails, fixing his image on the mast of the ship. Nowadays, he is invoked mainly to recover lost objects. However, there is no trace of this last patronage before the 17th century. It seems to be due to a play on words with his name: he was called Antonio de Pade or de Pave, an abbreviation of Padua (Padova). From there, it was attributed to him the gift of recovering the epaves, that is to say, the lost goods. He is represented as a beardless young man with a large monastic tonsure, dressed in a habit, and usually appears with the Child Jesus, holding him in his arms, in allusion to an apparition he had in his cell. It became the most popular attribute of this saint from the 16th century onwards, being especially popular in the Baroque art of the Counter-Reformation.

Italian school; XVII century."The Sibyl of Cumae".Oil on canvas.Presents repainting and perforation on the canvas.Measurements: 65 x 49 cm; 76 x 58 cm (frame).The Sibyl of Cumae was the priestess who presided over the oracle of Apollonius in Cumae, a Greek colony located near Naples, Italy. Because of the importance of the Cumaean Sibyl in the legends of early Rome codified in Virgil's Aeneid VI, and because of her proximity to Rome, the Cumaean Sibyl became the most famous among the Romans. Within the Italian school it was common, since the Renaissance, to depict Sibyls in compositions similar to those of contemporary portraiture, as ladies richly attired in the fashion of the time. In fact, there are known examples of works in which important aristocrats are portrayed as sibyls, both in Italy and in other countries. In fact, Velázquez himself portrayed his wife, Juana Pacheco, as a sibyl (1632, Museo del Prado). We can also find more recent examples, such as "La sibila de la Alpujarra", a portrait of the singer Carmen Casena made in 1911 by Julio Romero de Torres, currently kept in his museum. At a formal level it is also noteworthy that it is a work where you can appreciate a pictorial influence of the Roman school, the chromatism, warm and around a palette and the perfection of the drawing, as well as the regularity and balance of the ideal face of the figure, which refers to a sensitivity close to a language of classical character.In ancient Greek mythology, the Sibyl was a prophetess, sometimes inspired by Apollo and whose powers had a divine origin. However, the number of these women soon increased from three to twelve, in all cases without knowing their names, but knowing them only by the name of the place where they lived. It was the Renaissance who recovered this figure, considering them heralds of Christ in the pagan tradition in order to give value to it and "Christianize" it. Of all the works in which they appear, the best known is probably Michelangelo's Sistine Chapel Vault, which shows the five most representative of the time (Eritrea, Persian, Libyan, Cuman and Delphic).

Nasa. GRAND FORMAT. L'astronaute Bruce McCandless II (Mission de la navette spatiale STS 41-B), participe à une sortie historique dans l'espace. Il est photographié à quelques mètres de la cabine de la navette spatiale Challenger en orbite terrestre. Cette sortie dans l'espace représentait la première utilisation d'un dispositif à commande manuelle, à propulsion à l'azote, appelé unité de manoeuvre animée (MMU), qui permet une mobilité beaucoup plus grande que celle des précédents marcheurs de l'espace qui devaient utiliser des attaches restrictives. Février 1984.Tirage chromogénique d'époque. Numérotation dans la marge sur le devant. Légende sur étiquette au dos. 40,6 x 40,6cm avec marges. Nasa. LARGE FORMAT. Astronaut Bruce McCandless II (Mission of the Space Shuttle STS-41-B), participates in a historic spacewalk. He photographed a few meters from the cabin of the Challenger space shuttle in Earth orbit. This output in the space represented the first use of a manually operated device, powered with nitrogen, called animated maneuvering unit (MMU), which allows a much greater mobility than previous spacewalkers who had to use restrictive ties. February 1984.Tirage chromogenic period. Numbering in the margin on the front. Legend rear label. 40.6 x 40,6cm with margins. Nasa. LARGE FORMAT. Astronaut Bruce McCandless II (Mission des Space Shuttle STS-41-B) beteiligt sich an einem historischen Außenbordeinsatz. Er fotografierte wenige Meter von der Kabine des Challenger Space Shuttle im Erdorbit. Dieser Ausgang in dem Raum die erste Verwendung einer manuell betätigten Vorrichtung dargestellt, wobei Stickstoff versorgt, Abgelaufene animiert Manövriereinheit (MMU) genannt, qui Ermöglicht eine viel größere Beweglichkeit als die bisherigen Raumfahrer Wer restriktive Verbindungen zu verwenden war. Februar 1984.Tirage chromogenen Zeitraum. Nummerierung auf der Vorderseite am Rande. Legend Rückenetikett. 40,6 x 40,6 cm mit Margen.

MONTRE DE GOUSSET A CADRAN OUVERT EN OR SERTIE DE PERLES REMONTOIR A CLEF PROBABLEMENT SIGNE PAR BAUTTE & MOYNIER A GENEVEA FINE CONTINENTAL GOLD AND SEED PEARL SET KEY WIND OPEN FACE POCKET WATCH PROBABLY BY BAUTTE & MOYNIER À GENÈVEDate: Circa 1830Movement: Gilt cylinder, 3-arm balanceDial: Engine turned gilt, seed pearl set Roman numerals and outer minute divisions, winding aperture at 3, gilt crescent tipped hour handCase: Seed pearl set hinged with pendant and bow decorated to match, No.35061Size: 42mm Accompaniments: KeyFootnotes:The use of seed pearls in fine jewellery and watches was extremely popular in the 1800's. Prestigious jewellers such as Cartier, Tiffany and Faberge decorated their pieces with tiny pearls to match the opulence of the time. Jean-François Bautte (1772-1837) and Gabriel Moynier were two prominent Swiss goldsmiths, who created incredible watches, jewellery and objects of vertu. Jean-François Bautte is widely thought to be one of the inventors of the extra-thin watch.For further information on this lot please visit Bonhams.com

Lee Enfield No 5 Jungle Carbine Foresight Adjustment Tool, (cramp) complete with original packing box dated 1948, the box in unopened condition.B2 CR. 27A TOOLS FORESIGHT, CLAMP No. 4 MK II QTY. 1. On the side of the box is a rubber stamp I.F.A and a date stamp DEC 1948.The final five images included in the lot description Illustrated online are taken by the vendor who has another identical example which he has opened up to photograph. An extremely rare armourer’s tool used for lateral adjustment of the foresight on the Lee Enfield .303 No.5 Jungle Carbines. The Official designation was the Tool Foresight Cramp No.4 for the No.5 rifle. This is slightly confusing, but then the one for the No.4 rifle was the No.3 cramp! There is a reference for them in Dorsey and Shaffer’s book Gun Tools Volume 2, page 364 ‘This cramp adjusts windage on the British No.5 Mk1 Jungle Carbine front sight. The large hole fits around the flash hider and the smaller hole clears the bayonet stud located under the flash hider. Blackened machined steel with the following markings: Crown E and No.4 Rifle No.5.’

Two bayonet and scabbards, to include:Czech VZ 24 export model with circle Z export mark on the left ricasso, the pommel with SR over 797, the scabbard frog clip stamped CSZ E3 lion and 39,Czech M.1985 with circled ZP for Zbrojovka Praga who reworked blades during 1920 -21 using bayonets from other companies.44.5cm long

Swiss Milbank Amsler .41 rimfire rifle, 33 inch four groove rifled barrel secured by two sprung bands, stamped with crest and 241, and fitted with tangent rear sight graduated to 800 yards, conversion serial number 422 stamped to barrel and stock, the trap door conversion stamped with Swiss acceptance marks, the lock stamped with AF and A Francotte who carried out the conversion, this is repeated on the stock in a roundel, iron furniture including spur trigger guard. Section 58 (2) antique / obsolete calibre, can be owned without a licence.132cm longCondition report: The gun is in generally good condition. The stock has the usual dents and marks but has a very pleasing colour and patina and no splits. The metalwork has light overall pitting throughout, but has a dark finish which hides most of this. The action works correctly with a strong spring and tight lockup. The bore is near perfect with strong rifling and only minor speckling towards the muzzle.

Twenty Royal Albert Beatrix Potter figures, comprising Benjamin Wakes Up, Diggory Diggory Delvet, Mrs Rabbit Cooking, Little Pig Robinson, And this Pig had None, Appley Dapply, Old Mr Brown, Tommy Brock, Gentleman Mouse Made a Bow, Mrs Tiggy Winkle Takes Tea, Mr Alderman Ptolemy, Mrs Rabbit & Bunnies, Benjamin Bunny, Foxy Whiskered Gentleman, Mrs Rabbit, Hunca Munca spills the Beads, The Old Woman who lived in a shoe Knitting, Jemima Puddleduck, Hunca Munca Sweeping and Mr Drake Puddleduck, together with three Beswick Beatrix Potter figures, comprising Tom Kitten and Timmy Tiptoe, both BP-36 mark, and Mrs Tiggy-Winkle Washing, BP-10a mark, a Wedgwood Beatrix Potter nursery set and three other Wedgwood Beatrix Potter child's tableware items (majority boxed).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Botany.- Willmott (Ellen) The Genus Rosa, 25 parts in 2 vol., first edition, 132 chromolithograph plates by Alfred Parsons, most with tissue-guards, illustrations, many full-page, 'Instructions to Binder' bound at end vol. 1., original wrappers bound at end, bookplate, scattered faint spotting, cracked hinges, near contemporary morocco-backed boards, a little rubbed, slight bumping to corners and extremities, folio, 1910-14.⁂ Provenance: Bookplate of Graham Stuart Thomas (1909-2003), a horticulturalist who specialised in roses, he wrote the classics 'Old Shrub Roses', 'Shrub Roses of Today' and 'Climbing Roses Old and New'.

Thackeray (William Makepeace, novelist, 1811-63) 3 Autograph Letters, 1 signed W.M. Thackeray to Captain Alexander & 2 to Anne Thackeray (addressed as "Nanny" and "Fat" for "Fat Lump of Pure Gold" & ending "Papa" and "God Bless You Both"), together 9pp. & 2 address panels, 8vo, postmarked 5th August 1843 & n.d., written while on a European tour and mentioning Vanity Fair, "In a book called Vanity Fair there is an account of a regiment and the officers, who are pretty stupid but not so stupid by any means as the young gentlemen of the 21st Royal Scots Fusiliers your Uncle's regiment and mentioning Pendennis, small pen and ink illustration in the text of one letter, folds, small tear along one fold, slightly browned; and 5 other pieces, including: 3 watercolour wash sketches by Thackeray (1 with Autograph note from Thackeray asking the recipient to call), "Harriet Marion Thackeray's Duties for Monday Morning" [Harriet Marian Thackeray [Minny] (1840-75), wife of Leslie Stephen] and an ALs from Elizabeth Strickland to Mr Alexander, v.s., v.d. (8 pieces).

Lewis (C.S.) [The Space Trilogy], 3 vol., first editions, comprising Out of the Silent Planet, dedicatee's copy with initialled presentation poem titled "This book" dated 10/10/38 to endpaper, original red cloth, spine lettered in gilt, light bumping to spine ends and corners, dust-jacket, very light toning to spine, spine ends and corners chipped, light surface soiling to rear panel, short split to head and foot of lower joint, a very good example, 1938; Perelandra, light sunning to spine, heavier towards head, jacket price-clipped, light sunning to spine, spine ends and corners a little chipped, affecting titling at head of spine, short split to foot of upper fore-edge, light rubbing to extremities, 1943; That Hideous Strength, jacket spine ends and corners chipped with loss to head of spine affecting titling, 1945, original cloth, dust-jackets, 8vo.⁂ A very good set of Lewis' important science fiction trilogy, the first especially rare in the dust-jacket. Out of the Silent Planet was dedicated Lewis' elder brother, Warren Hamilton Lewis who has written a witty and charming poem to the front free endpaper by way of presentation.

Dickens (Charles, novelist, 1812-70) Autograph Letter signed to the publisher George Smith, 1p. with conjugate blank, Gads Hill, Rochester, Kent, 13th January 1864, sending "the brief article for the Cornhill Magazine" - i.e., "In Memoriam", Dickens' heartfelt tribute to William Makepeace Thackeray who had died three weeks earlier, "You will send me a proof to revise, no doubt... Will you also send a proof to Mr. [E.S.] Dallas...", folds.⁂ Dickens mourns Thackeray.Eneas Sweetland Dallas (1827-79), journalist and author.

Newton's Principia Mathematica.- Pfautz (Christoph) Acta Eruditorum Anno M DC LXXXVIII, 13 engraved plates, most folding, woodcut initials, ink stamp to title, bookplate to title verso, occasional spotting, including to plates, some light offsetting, library label to front pastedown, contemporary vellum, spine toned, 4to, Leipzig, J. Grossium and J.F. Gleditsch, 1688.⁂ This edition of the Acta includes a first edition of the important early review of Newton's 'Principia' (1687); pp. 303-315. Of the four reviews which had appeared by the end of 1688, this review in the Acta was the most detailed, and was comprehensive enough to provide many in Europe without access to the Principia itself with a fairly full account of its contents (Gjertsen, Newton Handbook, 1986, p. 472), almost in the style of an extended table of contents. The Acta review is anonymous, but evidence now supports identification of the author as Christoph Pfautz (1645-1711), who being a professor of mathematics at the University of Leipzig, was able to grasp the principal features of Newton's treatment of limits, and to appreciate the significance of the purely mathematical features of Newton's presentation. Pfautz's review gained contemporary fame when it was cited by Leibniz in his own article, 'Tentamen de Motuum Coelestium Causis', in the Acta in 1689. This volume of the Acta also contains three articles by the physicist Denis Papin (1647-1713), two articles by the astronomer Gottfried Kirch (1639-1710) and three articles by the mathematician Jakob Bernoulli (1655-1705).

Parrot Presses & Artists' Choice Editions.- Rossetti (Christina) Goblin Market, number 50 of 240 copies signed by the artist, wood-engravings by Hilary Paynter, original pictorial boards, uncut, Church Hanborough, 2003 § Evans (George Ewart) Ask the Fellows who Cut the Hay, number 78 of 280 copies, wood-engravings by Harry Brockway, David Gentleman, Miriam Macgregor & others, original cloth-backed patterned-paper boards, 1999 § Harrison (Michael) A Handful of Hares, number 54 of 125 copies signed by the author and artist, wood-engravings by Anne Cathcart, with prospectus, original limp boards, 2009 § Fothergill (John) An Innkeeper's Diary, number 28 of 300 copies signed by the artist, illustrations by Annie Newnham, original pictorial boards, slip-case, 1987, Church Hanborough; and c.15 others from the press, v.s. (c.20)

*** Please note, the description of this lot has changed ***Wilde (Oscar) Echoes. Tales originally related by Oscar Wilde, to Gabrielle Enthoven, and afterwards recorded by her, press clipping laid down to rear pastedown, original wrappers, upper cover with book label lower corner 'Hallam Fordham', upper cover worn through at staples, [c.1948]; and a photograph of Gabrielle Enthoven, corners stuck down onto board, loosely inserted, v.s. (2)⁂ 'The Poet'; 'The Actress'; 'Simon of Cyrene' and 'Jezabel'. Gabrielle Enthoven (1868-1950) knew Oscar Wilde, visiting him as a young girl, after which she purportedly would return home and copy down the stories he had told her. At some point she had a few copies (c.5 or 6) printed, giving one to the British Library in 1948. This present copy is known to be 3cm longer than that in the BL and in wrappers of a different colour. The same stories, however, also appeared in 'The Mask: A Quarterly Journal of the Art of the Theatre' (1912), and were reported as recounted to Aimée Lowther, also a young friend of Wilde's, who similarly recorded them for posterity. It is possible the same stories were told to both young women.

Lake District.- Holland (Peter, Liverpool-based artist who exhibited at the Royal Academy, active c. 1781 to 1812) Sketches of the Lakes, an album containing 62 original watercolour studies of lakes, waterfalls, bridges, and sites of natural interest, including the 'Bowder Stone in Barrowdale, Cumberland', many of which appear to have been used as designs for aquatints engraved by C. Rosenberg in a scarce publication of the same name (see second item), pen and ink title page 'Sketches of the Lakes by Peter Holland', 3 pp. with pen and ink numbered list, each with title identifying location, all on uniform laid paper with watermarks of the letters 'VDL', each leaf approx. 160 x 210 mm (6 1/4 x 8 1/4 in), all with ruled brown ink borders, marginal inscriptions and number to upper right corner of each, occasional minor spotting and browning, some surface dirt, owner's ink inscription to front free endpaper and bookplate to front pastedown, minor worm damage to front pastedown and first few leaves, contemporary calf, sympathetically rebacked, blind tooled, gilt, scuffed and rubbed, worn, oblong 8vo, 1771; together with Holland's Select Views of the Lakes in Cumberland, Westmoreland, and Lancashire from drawings made by P. Holland, engraved by C. Rosenberg, title, 21 aquatints, each with accompanying descriptive text leaf, scattered browning throughout, some surface dirt, stitched binding loose in places, a few leaves coming loose, blue paper wrappers, oblong 4to, printed by James Smith, for John Peeling, 1772 (2) Provenance: [Album of watercolours] Daniel Daulby, Liverpool (Liverpool brewer, prints and drawings collector, author of a catalogue of Rembrandt's etchings in 1796, died 1799); probably his posthumous sale Liverpool, 12 August 1799 and 8 following days (T. Vernon); Private collection, Cumbria.[Aquatints] Henry Swainson Cowper (1865-1941); Private collection, Cumbria.⁂ Holland exhibited at the Royal Academy in 1781, 1782, and 1793, and in the latter exhibition the artist included 2 landscapes of Cumberland subjects. He also exhibited at the 'Second Exhibition of the Society for Promoting Painting and Design in Liverpool' in 1787, where he exhibited alongside paintings by Fuseli, Gainsborough, Reynolds and Stubbs. [see E. Rimbault Dibdin, Liverpool Art and Artists in the Eighteenth Century, The Walpole Soc., vol. 6, p. 85].

Douai printing.- Lechmere (Edmund) A disputation of the Church, vvherein the old religion is maintained, second edition, title with woodcut printer's device, woodcut head- and tail-pieces and decorative initials, 'To my opponents'/errata and biblical quotation ff. at end, water-stained, occasional spotting, lightly browned, some corners creased, loose in contemporary limp vellum, little worn, creased and stained, [STC 15349], Douai, By the widdow of Mark Wyon, at the signe of the Golden Phoenix, 1632.⁂ Rare at auction, with the last copy we can trace being 1969 (bought by Thorp for $100). Lechmere (d.1640) was a Worcestershire-born Catholic divine, who was educated at the English College in Douai under Dr. Matthew Kellison. He went on to teach divinity there after a spell of study in Paris under Gamache.

America.- California.- Xántus (János) Utazás Kalifornia déli részeiben, 8 tinted lithographs, wood-engraved text illustrations, and folding map of Baja California showing from the southern tip of the Baja Peninsula up to San Francisco, the plates and map bound at rear without any endpapers, the map tipped onto a stub, spotting and surface dirt throughout, collector's bookplate of 'De Bárány' to front pastedown, 'Bárány Ignác' ink stamp and number '381' to title, original pictorial boards, cover title, imprint and illustration of man on donkey (Los-angelesi bor- es limonade-arus) within ornamental border, rebacked with cloth spine, gilt, scuffed with losses to corners, rubbed and worn, 8vo, Lauffer and Stolp, 1860⁂ Scarce and important views from the Golden Age of Western exploration, documenting an account of travels in southern California, with description of Los Angeles. János Xántus (1825-1894) was a Hungarian Freedom Fighter and political refugee who immigrated to the United States in the 1850s and served as a member of the U.S. Army Topographical Engineers. He collected and surveyed in the Fort Tejon area and Baja California.

South America.- Bolivar (Simon).- Cottu (Charles) De la Administracion de la Justicia Criminal en Inglaterra, y del espiritu del Gobierno Ingles, translated by Jose Maria Vergaria, half-title, errata leaf at end, bookplate of Lt. Gen. Patrick Campbell, contemporary calf with gilt tooled border, ?Simon Bolivar's copy with "Libertador Presidente de Colombia Simon Bolivar" in gilt on red morocco label mounted on upper cover, pale blue silk endpapers, rubbed and stained, some worming to joints, spine with gouge and worn at ends, 1820 § [Roger (Aimé)] Official Note from the Consul...of the General Consulate of France, to the Minister for Foreign Affairs of the Argentine Confederation..., title and text in French and English on facing pages, contemporary red roan, gilt, spine gilt, g.e., rubbed and faded, Buenos-Aires, 1838, 8vo (2)⁂ Simon Bolivar (1783-1830), "El Libertador", Venezuelan military leader who liberated the present South American countries of Venezuela, Bolivia, Colombia, Ecuador, Peru, and Panama from the Spanish Empire. He united these areas as "Gran Colombia" and served as President from 1819-30.

Thévet (André) Les Vrais pourtraits des hommes illustres grecs, latins et payens, recueilliz de leurs tableaux, livres, médailles antiques et modernes, 2 vol. in 1, first edition, collation: a b6 c4 A-Z Aa-Ee6 Ff4 Gg-Zz6 AAa-ZZz AAAa-ZZZz AAAAa-TTTTt6 ã6 ē6 ĩ6 õ2, engraved architectural title, portrait of Henri III with a sonnet by Scévole de Sainte-Marthe beneath, portrait of the author (b5) with a verse by Jean Dorat beneath, and numerous fine large portraits within text, woodcut head-pieces and decorative initials, Gg3 blank, lacking a6 and title to vol.2 (Gg1), first title with upper margin trimmed and mounted on blank recto of a2, a few short marginal tears, occasionally with loss (not affecting text), some spotting and staining (including water-staining (heavier at end), and the odd ink stain), a few small wormholes / traces to margins, lightly browned, later panelled tan calf, gilt, spine in compartments and with red morocco label, spine ends little worn, corners worn, rubbed and scuffed, folio (372 x 242mm.), Paris, Widow of Jacques Kerver & Guillaume Chaudière, 1584.⁂ Thévet's handsomely printed comprehensive collection of biographies of the great and the good. Thévet (1516-1590) was a French Franciscan priest, explorer, cosmographer and writer, who travelled to the Near East and to South America. Provenance: 'De la biblioteque de Messire Bernard de Noblet, Chevalier Comte de Chenelette, Lieutenant des Mareschaux de France' (engraved armorial bookplate to front pastedown). Literature: Adams T625; Mortimer French, 518.

Doves Press.- Mackail (J.W.) William Morris: An Address delivered...before the Hammersmith Socialist Society, [one of 300 copies on paper], printed in red and black, George Parker Winship's copy with his bookplate, original limp vellum by the Doves Bindery, spine titled in gilt, uncut, a couple of tiny chips to joints, [Tidcombe DP3], 1901 § [Cobden-Sanderson (T.J.) 23 lists, advertisements, order forms etc. from the Doves Press], some printed in red and black, one inscribed "With Mr. Cobden-Sanderson's compliments" in red ink at head, 1901-16; Proof sheet of the title-page to 'William Caxton: A Paper read at a Meeting of the Club of Odd Volumes in Boston...by George Parker Winship', with correction in red ink by Cobden-Sanderson to title, creased and stained, [Tidcombe DP19, related material], 1909; and an invoice/receipt for the press's Coriolanus made out to Winship, small 4to, Doves Press (26)⁂ One of the above lists from the press Recent Publications 1907-1909 includes Winship's William Caxton, with "300 copies on paper at 10s. and 15 on vellum at £2.10s. Published November 1909" underlined in blue crayon. Tidcombe quotes A.W.Pollard who introduced Winship's paper to Cobden-Sanderson "who set it up in close imitation of Dr.Mackail's lecture on William Morris".George Parker Winship (1871-1952), American author and librarian at the John Carter Brown Library in Providence, Rhode Island and later the Harry Elkins Widener Memorial Library at Harvard.

European Travel Journal.- Mount (L[aura Sarah], daughter of William Mount, of Wasing Place, Berkshire, married Francis Barlow, Barrister, Master in Lunacy, 1799-1887, and later of 48 Montagu Square, London, 1802-67)] [Journal of travels in France, Germany, Switzerland & Italy], autograph manuscript, 135pp. excluding blanks (1p. in pencil at end), slightly browned, original half morocco, 3 leather tabs, edges rubbed, small chip at tail of spine, sm. 4to, 1820.⁂ Calais, St Omer, Lille, Tournay, Brussels, Waterloo ("there are still some Cannon to be seen, in the walls of... Hougemont... We passed a deep Sand Pit, by the Road Side, in which we saw some Human Skulls & Bones"), Liege, Spa, Cologne, The Rhine, Bonn, Donaueschingen, Zurich, Mount Albis, crossing The Rigi, ("walked to Righi Coulon a higher point, where the Inn is a wretched wooden House... our excellent courier Mayor was standing on an elevated point not far from the House, a sudden & vivid flash of lightning, followed by a tremendous crash of thunder, struck him dead on the spot. An English Gentleman & his niece (Genl. & Miss Gooch) where also standing out... the lady's Dress was singed"), Lucerne, Althorf [Altdorf], Lauterbrunnen ("with the assistance of Guides & long poles we walked on the Glacier to the entrance of a cave of great deep"), Reichenbach Falls, Thun, Freiburg, Basle, Vevey, Geneva, Bonneville, Chamonix, Mont Blanc ("... we engaged 3 mules & a chaise... also an excellent Guide Balmat, (the son of Pierre Balmat who accompanied Monsr. Saussure in his expedition to Mont Blanc)... the mules were sure footed... we gradually entered a very steep, and rugged path... . We then dismounted... we proceeded to ascend, a narrow path, with a steep precipice... after passing a small spring, the path became excessively steep & rocky, & frequently dangerous after some hours of great fatigue, we reached the summit & partook of some refreshments"), Argentiere, Geneva, Aix, Saint-Benoit, Mont Cenis, Rivoli, Turin, Genoa, Milan, Como, Simplon, Ossola, Kaltwasser Glacier, the Rhone Valley, Saint Maurice [Moritz], Saint-Gingolph, Geneva, St Laurent, Dijon, Fontainebleau, Paris ("We went to the Tapisserie de Goblins, a most wonderful manufacturing of tapestries"); Versailles, Bibliotheque du Roi, Opera Buffa ("House extremely small & acting bad. Signeur & Miss Naldi the principal performers; "Variete & Odeon the acting very indifferent particularly the latter, Brunet a good comic actor at the Variete"), Louvre, Pere Lachaise Cemetery, Theatre Francois ("the principal performer with Talma the hero of the French stage; his action is exceedingly fine, but his extreme vehemence & rant so much admired by foreigners is the striking feature of this as well as all other tragic actors"), Tuileries Chapel ("to see the Royal family at Mass"), St Denis, Chantilly and Amiens.

Le Fanu (Joseph Sheridan) The Room in the Dragon Volant, first separate edition, "Copyright Edition", browning to margins, ink inscription to endpaper and bookplate to pastedown, contemporary cloth, neatly rebacked, retaining original backstrip, 8vo, Berlin, A. Asher & Co., 1872.⁂ First separate edition of this gothic tale of a group of bandits who bury their victims alive that first appeared in the collection In a Glass Darkly, published the same year. WorldCat lists only 1 copy of the present work and we can trace no other example.

Local interest: George IV sewing box with Elton family provenance, of sarcophagus form in stained satinwood, the hinged cover with swing carry handle, mother-of-pearl plaque and a border of facetted steel studwork swag decoration, enclosing mirror to underside, over removable plush-lined fitted tray with scent bottle, needle case and sundry sewing requisites, on button feet, 21.5cm x 15cm x 10cm high, with handwritten provenance note dated Sept. 7th 1860 suggesting "This box was given as a wedding present to Mary Lady Elton (in 1824) of Mount Elton Clevedon, Somerset, & was left by her when she died to her sister Jane Stuart, who in turn gave it to her niece Caroline Shaw...", plus a group of photographic cabinet cards featuring members of the Elton familyCondition report: Wrinkling and minor cracking to cover. One internal compartment vacant (thimble?), another tool damaged, a third (reel winder) replaced with a gaming counter. Sellotape tray lifters. Otherwise sound.