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Battle Over Britain book signed by 350 RAF WW2 BOB pilots Full list available. DEFINITIVE updated revised and best analysis of the Battle of Britain published to commemorate the 50th anniversary 1940-1990. Contains 354 signatures of top aces, air gunners and observers all who have rightly gone down in history known as the Legendary Few. Of special interest complete list of RAF and Luftwaffe losses as they occurred day by day and Appendix G the list of awards of the Victoria Cross and George Cross gained during the battle and the blitz (with 3 signatures). Signatures On Bookplate, 11 Author: Francis K Mason, Wg Cdr P Barthropp DFC AFC, 602, Wg Cdr E Barwell DFC, 264, 616-312, Grp Capt Tom Gleave 253, Wg Cdr R Havercroft AFC, 92, AVM F D Hughes CB DSO DFC AFC 264, Grp Capt C B. F Kingcombe DSO DFC 92, Air Cdre J A Leathart CB DSO, 54, ACM Sir Denis Smallwood GBE KCB DSO DFC, Signatures throughout the book including Flt Lt H Lusk, Sqn Ldr T P M Cooper-Slipper DFC 605, Flt Lt B. M Bush DFC 504, Grp Capt R Oxspring DFC AFC, 66, FO A Gear DFC 32, AVM F Scott-Malden DSO DFC, 61-603, Flt Lt E Cranwell DFC, 610, Cdre R Hay DSO DSC 808, Sqn Ldr R Stillwell DFC 65, FO A Burdekin 600, Sqn Ldr E Spurdle DFC, 74, Air Cdre J Farmer DFC 302, PO E Edmunds 245, Grp Capt G Edge DFC, 605, Grp Capt J Kayll DSO DFC 615, Sqn Ldr P McGregor, 46, Sqn Ldr J Freeborn DFC 74, Wg Cdr M F Anderson DFC 604, Grp Capt I Bayles, Grp Capt C Gray DSO DFC 54, Sqn Ldr H Heron AFC 266, Wg Cdr P Parrott DFC AFC 145, Flt Lt A Aslett 235, Flt Lt N Kemp DFC 85, Flt Lt A Cook 604, Flt Lt N Ramsey DFC 610, Sqn Ldr R Young 23, Sqn Ldr T Pickering 32, Flt Lt M Appleby 609, Sqn Ldr L Dixon DFC 600, Flt Lt G Bailey 234, Flt Lt R Kellow 213, AVM E Crew DSO DFC 604, Grp Capt P O'Brien DFC 52, AVM H Hogan DFC, 501, Wg Cdr E Holden DFC 501, Sqn Ldr D Stones DFC 79, Grp Capt A Wright DFC AFC 92, Grp Capt A Ingle DFC AFC, 605, Sergeant P Else 610, Wg Cdr W S Krol DFC 302, AVM H Bird-Wilson DSO DFC AFC 17, Sqn Ldr I Hutchinson 222, Flt Lt J Greenwood 253, Air Cdre E Morris DSO DFC 79, Wg Cdr F Smith DFC 72, Sqn Ldr J Gibson DSO DFC 501, Wg Cdr A Forster DFC 607, Flt Lt H Hoyle, 32, Sqn Ldr R Dalton RFM 604, Flt Lt R Hall 152, Flt Lt L Martel 72, Wg Cdr N Hancock DFC 1, Wg Cdr R Norris, 1, Flight Lt A Austin, 29, Flt Lt R Johnson 222, Sqn Ldr J Young DFC 234, Wg Cdr C Currant DSO DFC 605, Wg Cdre S Skalski DSO DFC 302-501, Grp Capt J Cunningham DSO DFC 604, Sqn Ldr A Page DSO DFC 56, Grp Capt D Gillam DSO DFC AFC 616, Sqn Ldr A Bartley DFC 92, Sqn Ldr K Geddes DFC, 604. Grp Capt D R S Bader DSO DFC 222-242, Sqn Ldr C Saunders DFC, 92, Wg Cdr J Sing DFC 213, Flt Lt G Holder 236, Flt Lt A Beechey DFC 141. Wg Cdr R Stanford-Tuck DSO DFC 92-257. Wg Cdr R Doe DSO DFC 234-238, Wg Cdr C Overton DFC 609. Wg Cdr D Kingaby DSO AFC DFM 266-92. Wg Cdr B Jennings DFM, 19, Grp Capt M Stephens DSO DFC 3-232, Grp Capt E Wells DSO DFC 266, Flt Lt F Barker DFM 264, FO J Pickford DFM 604, Sqn Ldr R Innes 253, Grp Capt G Manton 56, Sqn Ldr G Pittman 17, Wg Cdr E Shipman AFC, 41, Sqn Ldr V Simmonds, 238, Air Cdre P Jameson DSO DFC 266, Flt Lt R Dibnah 1-242, Flt Lt W Gnys 302, Sqn Ldr P Morfill DFM 501, Flt Lt J Milne 605, Sqn Ldr P Olver DFC 603, Flt Lt R Candy 25, Flt Lt W McConnell DFC 245, Wg Cdr E Graham 72, Flt Lt A Thompson DFC 85 249, Sqn Ldr W Johnson DFC 85, Grp Capt J White 3 FIU, Flt Lt F Lanning DFC 141, Lt Cdr B Paterson DFC 804, Sqn Ldr E Smith DFC 610, Sqn Ldr D Scott DFC 73, Wg Cdr R Fumerton DFC AFC 32, Wg Cdr G Gilroy DSO DFC 603, Grp Capt J Ellis DFC, 610, Wg Cdr M Robinson CB AFC, 616, Sergeant N Harding 29, Sqn Ldr A Whitby DFM, 79. Wg Cdr J R Gardner 141, Wg Cdr G Nelson-Edwards DFC 79, Flt Lt N Norfolk DFC 72, Sqn Ldr D Jack 602, Flt Lt R Carr-Lewty AFC 41, Flt Lt M Croskell 213, Flt Lt R James DFM 29, Air Cdre R Leigh 66, Grp Capt P O'Brian DFC 152, Flt Lt M Mounsdon 56, Grp Capt S Gunn DFC 236, Flt Lt G Holder 236, Grp Capt N Odbert 64, FO John W Pye, 25, Flt Lt Hone 615, Wg Cdr P Pitcher 1, Sqn Ldr E Seabourne DFC 238, Wg Cdr G Saunders DFC 65, Wg Cdr J Bisdee DFC 609, Wg Cdr R Milne DFC 151, Wg Cdr K Holden DFC 616, Wg Cdr J O'Neill DFC 601 238, Sqn Ldr O Kucera DFC 111, Flt Lt L Batt 238, Wg Cdr G Howitt DFC 245 615, Flt Lt F Gash DFM, 264, Sqn Ldr J Unwin-Mann DSO DFC 238, Grp Capt T Dalton-Morgan DSO DFC 43, Air Cdre D Roberts AFC 609, Sqn Ldr G Pushman DFC 23, Sqn Ldr J Stokoe DFC 603, FO J Quill AFC 65, Air Cdre R Chisholm DSO DFC 604, Wg Cdr M H Constable-Maxwell DSO DFC 56, Wg Cdr D Honor DFC 145, Wg Cdr R C Wilkinson DFM, 3, Sqn Ldr M T Wainwright AFC 64, Sqn Ldr R McGowan 46, FO L Bowman DFM 141, Lt Cdr A McLeod Mackinnon 804, PO A Vrana 312, Grp Capt I Smith DFC 151, Mjr A E Marsh RM 804, Flt Lt D Mansfield 236, Flt Lt D Smythe DFC 264, ACM Sir F Rosier DSO 229, Sqn Ldr H Wakefield DFC 235, Flt Lt G Palliser DFC 43-249, Sqn Ldr D Hunt, 66, Flt Lt W Hornby 234, Sqn Ldr G Welford 607, Flt Lt K Edwards 600, Wg Cdr R Beamont DSO DFC 87, Flt Lt E Szaposnikow VM 303, Grp Capt F Sutton DFC 56, MRAF Lord N Cameron DSO DFC 1-17, Sqn Ldr P Wells DSO 249, FO C Hampshire 85, W/O R Stretch 235, Wg Cdr G Sinclair DFC 310, Wg Cdr T Vigors DFC 222, Sqn Ldr M Brown AFC 611 41, Sqn Ldr J Bentley-Beard AFC DFM 249, Sqn Ldr S Stephenson 85, Sqn Ldr N Langham-Hobart 73, Flt Lt R Holmes 504, Flt Lt W Green 501, Flt Lt W Walker 616, Flt Lt N Hancock DFC 65-152, Wg Cdr R Foster DFC 605, Sqn Ldr P Beake DFC 64, Grp Capt B Drake DSO DFC 421, Wg Cdr T Neil DFC AFC 249, Sqn Ldr P Farnes DFM 501, Sqn Ldr K Lee DFC 501, W/O G Stevens 151, Flt Lt D Parker 616-66, Flt Lt L Harvey, 54-245, W/O C Hilken 74, Flt Lt J Kemp 54, Flt Lt G Hewett 607, Flt Lt H Evans 236, W/O J Gadd 611, Flt Lt G Draper 610-41 , Wg Cdr J Lingard DFC 25-219, Sqn Ldr B Little 609, W/O K Jones 85-605, Flt Lt J F R Jones 25, 25, Flt Lt H Aitken 54, Flt Lt D Anderson 29, Flt Lt J Duart 219, Flt Lt S Cooper AFC 253, Gp Captain P Townsend DSO DFC 87, Sqn Ldr K Carver DFC, 29-229, Wg Cdr I Westmacott 56, Wg Cdr S Norris DFC 610, W/O E Adams, 236, W/O H Bowen-Morris, Sqn Ldr J Hayter DFC, 615-605, Feldwebel Helmut Pohl 111 Luftwaffe, First POW AVM A Johnstone CB DFC 602, Sqn Ldr D Yapp DFC 245-253, Sqn Ldr J Pattison DSO DFC 266-92, Sqn Ldr A Glegg DFC, 600, Flt Lt J Down 64, Flt Lt A MacGregor 266-19, ACM Sir H Broadhurst DSO DFC AFC, 1, Grp Capt D MacDonald DSO DFC, 213, Wg Cdr A Miller DFC, FIU-17, Flt Lt D Gibbons, 54-222, Flt Lt A Russell 43, Sqn Ldr B. D Russel DSO DFC 1, Grp Capt J Hill 222, Wg Cdr R MacDougall DFC, 141, Sqn Ldr H Newton AFC 111, Sqn Ldr J Mackenzie DFC 41, Flt Lt P Hairs MBE 501, Sqn Ldr P McDown 56, W/O R Gretton DFC 266-222, Flt Lt R Llewellyn DFM 213, Sqn Ldr F Usmar 41, Flt Lt R Sellers AFC 111-46, Sqn Ldr W Blackadder DSO 600, Wg Cdr R Thomson 72, Wg Cdr E Cassidy DFC AFC 25-249, Flt Lt R Ford, 41, Sqn Ldr B Bowring, 600 111, Flt Lt L Collingridge 66, Flt Lt R Puda, 310-605, Wg Cdr T Thomson 615, 607, 213, Flt Lt A Blayney AFC 609, Flt Lt N Barron, 236, Flt Lt R Jones 605, Lt Cdr R Gardner DSC 242, Flt Lt R Smith 151, Wg Cdr G Swanwick 54, Wg Cdr J Storrar DFC 145-73-421, Wg Cdr J Kilmartin DFC 43, Flt Lt A Harker DFM 234, Sqn Ldr H Szczesny DFC VM, 74, Flt Lt R Tongue, 504, Flt Lt R Kings, 238, W/O G Garside, 236, Grp Capt G Westlake DSO DFC 43-213, Flt Lt C Gibbons, 236, Flt Lt D Cooper 235, Flt Lt D Isherwood 29, Sqn Ldr I Cosby DFC 610, 72 222, Flt Lt A Lauder 264, Sqn Ldr C Haw DFC DFM 504, Sqn Ldr J Millard 1-242, W/O G Benn 219, AVM G Chamberlain CB , FIU, W/O R Mowat 248, Lt Cdr R Walsh, 111, Flt Lt H Cordell, 64-616, Flt Lt W Skinner DFM 74, Author Francis K Mason acknowledges during the Battle of Brittan, the 4 awards of the Victoria Cross, and the 34 awards of the George Cross, signatures of 3 of the recipients can be found on pages 505-506. Wg Cdr R Learoyd VC, Colonel B. S T Archer GC Royal Engineers Harry Errington GC Auxiliary Fireman TOTAL 356 (approx). Good condition Est.

Lech Walesa is a Polish statesman, dissident, and Nobel Peace Prize laureate, who served as the President of Poland between 1990 and 1995. After winning the 1990 election, Walesa became the first democratically elected President of Poland since 1926 and the first-ever Polish President elected in popular vote. 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

Benny Hill Rare Handwritten Signed Postcard To Phobe King. Provenance: From the late Phoebes Kings Estate. From a collection of postcards, sent by the iconic British comedian, from 1972 right through to 1991 (the year before his death), all sent to his dedicated fan who first sent him a fan letter back in the 1950s; mailed from various Worldwide locations and discussing details of Hills filming schedules & private activities, and all signed with affectionate pet names. Hill wrote to King whenever he was abroad. The collection of postcards reveal Benny Hills tender friendship with Cerebral Palsy sufferer PHOEBE KING - addressing her as Kitten or Feeb and signing off as Petit Ben, Benny, Little Teddy B, Teddy B, T.B. and other endearing names. Hill visited Phoebe King once a year, staying in a guestroom in her sheltered accommodation in Felixstowe, Suffolk and taking her for meals in her wheelchair. There was also red-carpet treatment from him to her in London, including lunch at The Savoy Hotel. BENNY HILL`S WILL MAY GIVE DISABLED FAN $30 MILLION. The $30 million fortune that British comedian Benny Hill accumulated by telling sexy jokes and surrounding himself with sexy girls will likely go to a disabled woman who had been a fan for 42 years. Hill, who was found dead at his home in April 1992, spent little on himself. He vowed last year to leave his money to two cerebral palsy victims, Phoebe King, 57, and Jeanette Warner, 58. Warner died in February, so, subject to what the still-unpublished Will says, King is set to become a multimillionaire as a result of a fan letter she sent to the comedian in the 1950s. 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

Ludwig Deutsch (Austrian, 1855-1935)Calling the Faithful signed and dated 'L. Deutsch Paris 1893' (lower right)oil on panel49.5 x 31.7cm (19 1/2 x 12 1/2in).Footnotes:ProvenanceIrving Putnam Rexford (1884-1955).Olive Edna May Carson Rexford (1888-1977).Thence by family descent.Private collection, Canada.In 1893, the Société des Peintres Orientalistes Français was created in Paris to reinvigorate a genre that had begun to stale after half a century of dominating the European art world. Many of the giants of Orientalism had passed away or become interested in subjects beyond the Middle East, while the most influential artist in the field, Jean-Léon Gérôme (1824-1904), was now focusing almost exclusively on sculpture, often with classical themes. There were some Orientalist painters, however, who were still captivated by the region, and whose works proved that Orientalism had something left to give. Ludwig Deutsch was one of them, and his pictures from the 1890s were among the finest of his career, with themes that would become the most recognisable and coveted in Orientalist art. His meticulously painted images of Arab men at prayer or, as here, silhouetted or placed just in front of the doorway of an Egyptian religious school or mosque, were particularly successful, finding ready buyers in Paris, London, New York, and Cairo - markets that continue to embrace Deutsch's works today.  In the present painting, completed just one year after winning a gold medal at the 1892 Paris Salon, Deutsch demonstrates the power of the art he created during these pivotal years. Specific yet iconic, topical yet timeless, the subject and site of Calling the Faithful reappear often in Deutsch's oeuvre, like stills from a sweeping cinematic series. The setting, in fact, was a favourite of the artist, and was likely visited in person during one of his many trips abroad (see fig 1). The distinctive bronze medallions adorning the wooden doors of the late 14th century Fatimid Mosque of al-Barquq, located in Cairo's Al-Moez Street, had been appreciated by scores of other artists as well, notably Pascal Xavier Coste (1787-1879) and Owen Jones (1809-1874). Jones reproduced similar medallions, decorative details, and architectural elements in his epic The Grammar of Ornament, published in London in 1856 and frequently used by Deutsch as an aide memoire for his Orientalist compositions. Deutsch's extensive collection of Orientalist photographs served much the same purpose. The jewel-like tones and miniaturists' technique, however, as well as the creative reconfiguration of historically accurate parts, were Deutsch's own, unique contribution to the field. The male figure in the composition, clad in a red striped qumbaz and a white turban, holds his index finger to his left ear.  This gesture – performed during the call of Adhan, or invitation to pray - allowed him to project his voice with the appropriate control, modulation, and force, while also protecting his hearing. His outer robes and scarf feature metallic gold threads, suggesting that they may have been woven in the nearby village of Kerdassa, famous for its luxurious striped textiles. Such ethnographic touches were typical of Deutsch, and contributed to the astonishing realism of his art. Ironically, given this level of precision and clarity, the details of Deutsch's own life remain obscure, with only the most basic biographical information being known. It is left to his pictures to reveal who he encountered during his wide-ranging travels, what intrigued him about Egypt specifically, how he chose to paint it, and why. We are grateful to Emily M. Weeks, Ph.D. for writing the catalogue note. The painting will be included in Dr. Weeks's concise catalogue of Deutsch's works, currently in progress.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Eugène Fromentin (French, 1820-1876)Audience chez un Khalifat, Sahara signed and dated '1860 Eug. Fromentin' (lower left)oil on canvas58 x 90.5cm (22 13/16 x 35 5/8in).Footnotes:LiteratureJames Thompson and Barbara Wright, La Vie et l'oeuvre d'Eugène Fromentin, Paris, 1987, p. 171, illustrated.Eugene Fromentin was born in La Rochelle in December 1820 and studied under Louis Cabat (1812-1893). He was also a well respected author, publishing a celebrated book on Dutch and Flemish painting, Les Maîtres d'Autrefois ('The Old Masters') to great acclaim in 1876. An initial visit to Algeria was followed by another trip in 1852, when he accompanied an archaeological mission. This journey gave Fromentin the opportunity to study the local population and culture, which provided him with inspiration and subject matter that was to characterise his work until his untimely death at the age of 56, in 1876. Heavily influenced by the Orientalist master Eugene Delacroix, Fromentin chose to depict real events: camel trains, hunting scenes, Arab horsemen riding through stormy deserts and at evening prayer. He did not shy away from more distressing subjects such as funeral scenes or the effects of drought.In the present picture, executed in 1860, and a larger version of the work on panel which was offered at Sotheby's London, 24 April, 2012, lot 27, a group of horsemen are gathered in front of a mosque; one of their number delivers news to the seated caliph as a guard dressed in red looks on. The languid nature of the seated figures to the right is in stark contrast to the more agitated demeanour of the horsemen who appear to be awaiting orders. The tension is further enhanced by the whispering couple leaning against the wall in the background and the suspicious sideways glance of the central figure as he climbs the step. The picture is beautifully lit by strong sunshine and blue sky. Every detail is carefully picked out and adds to the composition – beautifully rendered drapery, discarded shoes, a pile of weapons - all carefully considered to complete the narrative.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Alexandre Bida (French, 1813-1895)The Persian Barber signed 'Bida' (lower right)pencil and chalk46 x 37cm (18 1/8 x 14 9/16in).Footnotes:Alexandre Bida's technique, scratching back the black layer of graphite and creating a multitude of fine hatchings to reveal the white ground beneath, is ably demonstrated in the present lot. Creating a work in chiaroscuro, the work stands in contrast to many of the artist's contemporaries, who opted for rich colours to represent an exotic Orient, full of sensuality and eroticism.The present lot makes an interesting comparison with Café in Constantinople (1847, Cleveland Museum of Art), showing the same objects - a round table, coffee pots, the chibouk pipe- which Bida would have documented during his travels around Greece, Turkey and Syria. It was also the basis of an illustration in the Parisian journal L'Illustration, September, 1849, as well as a popular travel guidebook by Adolphe Laurent Joanne entitled Voyage en Orient, 1850. In both editions, the illustrations were made by a contemporary engraver and the barber is said to be Armenian instead of Persian.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Hippolyte Pierre Delanoy (French, 1849-1899)Still life with Fiqh signed and dated 'Hp pierre Delanoy/1880' (lower right) oil on canvas60 x 115cm (23 5/8 x 45 1/4in).Footnotes:Hippolyte-Pierre Delanoy was born in Glasgow in 1849. Delanoy studied under Charles Gleyre and also worked with Antoine Vollon who trained him in the art of still life painting; in particular he became renown for his skill in depicting armour. He exhibited between 1863 and 1887, both in Lyon and at the Salon in Paris. Several works were purchased by the French state and his work is held in a number of permanent collections in France, including the Musee d'Orsay in Paris and the Musee des Beaux-Arts in Lyon. He died in Paris in 1899, aged only fifty.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jean Raymond Hippolyte Lazerges (French, 1817-1887)The Tomb of Sidi Abderrahmane Al-Thaalibi signed and inscribed 'Hipt Lazerges Algiers 1878' (lower left)oil on canvas33 x 49cm (13 x 19 5/16in).Footnotes:Born 1817 in Narbonne, there is little known about the early life of the artist. By 1841 he was a regular exhibitor at the Paris Salon and was awarded the Legion d'honneur in 1867.Lazerges first visited Algeria in 1830 but settled permanently in the country in 1861. He was an author as well as a painter and musician, and celebrated North African culture through his work which found a willing market back home in France. He drew his inspiration from the everyday subjects that he witnessed in the city and surrounding countryside – real people engaged in everyday events, as opposed to the idealised vision of the East as espoused by Ingres and his followers.The present lot depicts the interior of the shrine of the saint Sidi Abderraham at-Thaalibi, the Muslim theologian who became the patron saint of the city of Algiers. A prolific author, he founded the Thaalibiya school where education in history, literature, Sufism and doctrine was provided. His shrine became a place of pilgrimage as can be seen by the three women wearing the haik who are shown here praying next to the tomb.According to Cook's Practical Guide to Algiers, Algeiria, and Tunisia 1904, 'with the exception of the Djama el Kebir ... this is the oldest religious building in Algiers ... The marabout Abd er Rahman et Thalibi was born in 1387 and died in 1471. The mosque was built between these dates and contains his tomb, over which are hung silk banners, ostrich eggs, etc and on which lights are kept burning'. This can be seen in the present work, which shows the extraordinary number of lanterns and chandeliers hanging from the ceiling and the profusion of textiles and rugs.It is unlikely that Lazerges would have been able to work on this composition in situ, which would explain why the interior would appear larger than it actually is, but the overall image is treated with careful attention to detail and with an empathy that would suggest the work of an artist fully engaged with his subject and at ease in his surroundings.For further information on this lot please visit Bonhams.com

G. Esperon (19th Century)Dancing figures in an interior signed and dated 'G.Esperon 1889' (lower left)oil on canvas110 x 149cm (43 5/16 x 58 11/16in).Footnotes:Little is known about the life and work of G. Esperon, however this lively depiction of numerous figures in a rich interior is a fascinating work. The subject itself is intriguing as on first glance, one might assume that it is a harem scene given that the room is not on the ground floor; there is also the lack of a fountain or other element typically found in a public (reception) space. However, the Koranic inscription and the presence of men (there are two young servants and another figure who appears to serving coffee and therefore not likely to be the harem master but could be a eunuch) might suggest otherwise. The inscription, taken from the Quran 76:21 (Aya 21 from Surat Al-Insaan) is interesting as it is religious and would only have appeared in a mosque or madrasa and refers to men in Paradise. Here, the artist has depicted women in a profane setting and engaged in dancing. It is possible that Esperon did not read Arabic, but the visual quotes in this painting, and what we know of him make this appear unlikely. In 1858 he made a sketch of Joseph Hekekyan Bey (1807-1875) - the Turkish born, English educated civil engineer who worked with British geologist Leonard Horner to measure silt deposits in the Nile- and the portrait of Osman Pashi Rifki (Christie's London in 2014, 10 April 2014, lot 232), seem to suggest that he was an artist with some grasp of Middle Eastern culture and of Arabic. The picture also has artistic nods to other painters – tiles from Gerome, clothing patterns reminiscent of Liotard, and architectural references to John Frederick Lewis. Indeed, the work was considered so decorative that it was reproduced as a postcard in 1900.For further information on this lot please visit Bonhams.com

Fratelli G Pugi & F Pugi (Italian, early 20th Century)Arab horseman signed 'Pugi' (to the figure)bronze, marble and alabaster55 x 42cm (21 5/8 x 16 9/16in).55 cm high x 42 cm wide (21 5/8 x 16 9/16in), with verde antico pedestal 120 cm high x 46 cm deep (47 1/4 x 18 /18.)Footnotes:Guglielmo Pugi (1850-1915), born in Fiesole, Italy, was an Italian sculptor who ran a studio in Florence. He and his sons, Gino and Fiorenzo, functioned as 'Guglielmo Pugi and Sons', and following their father's death, the sons later operated as Fratelli G. and F. Pugi (also known as Pugi Brothers).For further information on this lot please visit Bonhams.com

Roman master; 18th century."St. Joseph of Cupertino, levitating in front of Pope Urban VIII".Oil on canvas.Presents walls and extensions on the sides, with canvas and original warped frame.Measures: 224 x 172 cm.In this devotional scene is represented the levitation of the friar San José de Cupertino, in front of the Pope Urbano VIII, which is recognized by the presence of the emblem of the bee, located in the sofa where he is seated. Symbol of the Barberini family to which the pontiff belonged. Regarding the Saint, Joseph Cupertino, he was a friar from Naples, belonging to the Franciscan order. As a child, he began to experience ecstatic visions, which continued throughout his life, and made him an object of scorn. He tried on several occasions to enter religious life, but was rejected on numerous occasions, until he was admitted by the Franciscans as early as 1625. During his religious life, he was known for his ability to enter into ecstasy and to levitate, being removed from the choir by his superiors, due to the frequency with which these "miracles" occurred. After the diffusion of these facts, his credibility was questioned, and he was accused of swindling, so much so that he was sent to Rome, in front of Pope Urban VIII. It was in this meeting between the two that the saint again entered into ecstasy and levitated, so that not only the Pope believed him, but also Prince John Frederick, Duke of Brunswixk-Lüneburg, at that time a Protestant, who decided to convert to Catholicism.In this particular scene, the saint is placed in the center of the composition, accompanied by a group of small angels, arranged above his head. In the earthly part of the scene, the Pope, elevated on his throne with respect to the rest of the characters, contemplates the scene in surprise, as well as the group of religious that complete the image. By the disposition of the characters, added to the golden tonality of the atmosphere that surrounds the scene, and the magnitude of the architecture, the scene stands out for the great theatricality with which the subject has been treated. A characteristic of the Catholic religious painting of the time, influenced by the ideals of the reform, which tried to surprise the faithful and bring them closer to the magnificence of a church in full decadence.

Andalusian school of the mid-18th century. "Christ crucified". Oil on canvas. Measurements: 81 x 61 cm, 106 x 86 cm. (frame) The crucifixion of Christ is the central theme of the Christian iconography and especially of the catholic one. Christ was inflicted the suffering that corresponded to the suffering of runaway slaves or slaves in rebellion, an essentially Roman condemnation but of Persian origin. This episode in the life of Christ is the most strictly proven historical fact and is also the main argument for the redemption of Christian doctrine: the blood of God incarnate as man is shed for the redemption of all sins. The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the "Agnus Dei", the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour is not due to an organic process but to an act of divine will, Christ is represented, as in this work, already dead, with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the passion, provoking commiseration, as referred to in Psalm 22 when he prays: "My God, my God, why hast thou forsaken me? (...) a mob of the wicked is near me: they have pierced my hands and my feet (...) they have divided my garments and cast lots for my tunic". The present work shows Christ crucified, fastened to the cross by three nails (one in the feet and two in the arms, now lost), crowned with a crown of thorns and covered with a cloth of purity. The iconography of the three-nailed Christ is typical of this period. During the Middle Ages the form with four nails was preferred, but in Renaissance examples it usually appears with three. This formula would be maintained until well into the Baroque period, until the iconography of Francisco Pacheco spread, who took up the representation with four nails.

Spanish school, last third of the 16th century. "Adoration of the Shepherds. Oil on panel. Engatillada. Size: 33 x 35 cm; 60 x 62 cm (frame). In this canvas we see a very repeated theme throughout the History of Art, that of the adoration of the shepherds. The scene is approached from an idealised point of view, full of eloquent and stylised gestures, especially the gesture of the Virgin, who takes the cloth that cradles the Christ Child with her fine fingers and raises her gaze towards her. Surrounding the newborn are the humble figures of two shepherds and Joseph with Mary. The ox and the donkey also bring their noses close, touched by the scene. Behind them, a broad landscape opens up in blue tones in the distance, the perspective being marked in the Flemish manner. The intense white of the cloth bathes their surroundings in light, radiating with nuanced tones that shift from warm in the foreground to cool in the landscape. This reinforces the idea of family seclusion. The painting belongs to a school of transition between the Renaissance and the Baroque.

Italian school of the XVIII century."St. John the Baptist.Alabaster.Measures: 37 x 10 cm.Alabaster sculpture representing St. John the Baptist in full body, wearing the camel skin sackcloth, one of his main attributes. By the posture of his hands, he was probably accompanied by an Agnus Dei, to which he points, following the usual iconography of St. John next to the lamb of God. The figure is worked in rounded bulk, and belongs to a period of transition between Baroque and Neoclassicism. The Gospels say that John the Baptist was the son of the priest Zechariah and Elizabeth, cousin of the Virgin Mary. He retired very young to the desert of Judea to lead an ascetic life and preach penance, and recognized in Jesus, who was baptized by him, the Messiah announced by the prophets. A year after the baptism of Christ, in the year 29, John was arrested and imprisoned by the tetrarch of Galilee Herod Antipas, whose marriage with Herodias, his niece and sister-in-law, he had dared to censure. Finally St. John was beheaded, and his head given to Salome as a reward for his beautiful dances. This saint appears in Christian art with two different aspects: as a child, Jesus' playmate, and as an adult, an ascetic preacher.

Catalan school of the second half of the fifteenth century."St. Stephen", ca. 1480.Tempera painting on panel and gold background.Measures: 154 x 79 cm; 161 x 85.5 cm (total).Gothic panel of the fifteenth century with a frame topped with a poly-lobed arch. It is the representation of St. Stephen, staged standing and haloed, in frontal position. The saint carries in his left hand the stones of stoning, these in turn resting on the gospel. Also, in the other hand, the palm that identifies him as a martyr. Formally this work already shows us an important advance with respect to the international Gothic style that dominated the panorama in all Europe during the 14th century. Thus, although the line continues to maintain its prominence, a more naturalistic representation of the volumes begins to be sought, and attention is paid to detail and quality that responds to a direct Flemish influence. However, the panel maintains the full body, a resource that monumentalizes the figure and makes it more corporeal, losing the stylization of the previous century. We also see the attention to detail of Flemish origin in areas such as the hair, painted almost hair by hair, the palm or the tiles that make up the floor.The deacon Stephen, whose name means crown, was the first martyr of the Christian faith, who was stoned by the Jews, who accused him of blaspheming Moses. According to a 10th century manuscript dedicated to his biography, on the day he was born he was snatched away by Satan, who replaced him in his cradle with a small demon. He then left the child girdled at the door of a bishop named Julion, who discovered the child being suckled by a white doe and adopted him. Some time later Stephen returned to his father's house, and with the sign of the cross expelled the demon that occupied his place. Ordained deacon by the apostles, he argued with the Jewish rhetoricians, who had him arrested and condemned for blasphemy to death by stoning. Regarding his patronages, he belongs to the category of holy healers, and was considered to have the power to heal ringworm. Because of the stones from his stoning, he was invoked against stones and headaches. In Germanic countries, the legend attributed him to have been the stableman of King Herod, so he was considered the patron saint of horses, coachmen and drivers. He was also the patron of slingers, because of his stoning. St. Stephen has as main attributes, from the 15th century, a book or a sheet and the stones of his stoning, as we see here.

Spanish school of the first half of the XVII century."Nativity.Oil on panel.Size: 27 x 27 cm; 48,5 x 48,5 cm.In this variegated panel, the artist shows the Child Jesus on the ground, completely naked and assisted by little angels. This iconography is based on the Revelations of Saint Bridget of Sweden, from the 14th century, who in one of her visions, includes the description of the moment of childbirth given to her by the Virgin herself. According to this vision, when Mary knelt down to pray, she felt the Child move inside her, whom she immediately gave birth to. Without changing her position, the Virgin began to adore the Child with the utmost decorum and reverence, and was joined shortly afterwards by angels. Meanwhile, St. Joseph had gone out to look for something to light the place and did not attend the birth. Also participating in the scene are the ox and the mule, omnipresent in our traditional Nativity scenes, which, however, are not mentioned in the accounts of the Birth of Christ given in the canonical Gospels.The Gospel of St. Luke tells that St. Joseph and the Virgin Mary went to Bethlehem to register following a census ordered by Rome and adds: "And it came to pass, while they were there, that the days of childbirth were fulfilled, and she gave birth to her firstborn son, wrapped him in swaddling clothes and laid him in a manger, because they had no room in the inn. Some apocryphal gospels, such as the Protoevangelium of James or the Pseudo-Matthew, refer to the place of birth as a grotto or cave, plunged in darkness, a motif that will appear frequently in Byzantine art and is also maintained in traditional nativity scenes. In Western art, on the other hand, the motif of the grotto is rare. Based on accounts such as that of The Golden Legend of Jacobus of Voragine, from the 13th century, the scene is usually located in a stable or shed, as in the present panel, generally in ruins and semi-abandoned, which was used as a shelter or resting place by both people and animals.

Dutch school; first half of the seventeenth century."Portrait of a gentleman".Oil on panel.Presents restorations, repainting and slight damage.Size: 71 x 58 cm; 92 x 77 cm (frame).We see in this work a male portrait that presents us a gentleman of mature age, with a thick beard, soberly dressed in a suit of armor, on which is superimposed a large white ruff. The luminosity of the face stands out in this work, contributed by the flesh tones and a spotlight, directed towards the face. The author has wanted to emphasize especially the look, which the protagonist fixes directly on the spectator, a feature that tells us about the psychology of the character, breaking in part the protocol distance typical of the baroque portrait. The composition is sober, typical of the Dutch portrait painting of the time: the character appears with a long bust, turned three-quarters with his head slightly turned to the front, in the foreground, against a neutral, dark background, although somewhat more illuminated around the head of the character. His face is modeled through a contrasting light of tenebrist heritage.The portrait, both individual and group, and even the character portrait, embodies the relationship of the individual with society and, therefore, with the State. This genre covers a third of the total production of the Dutch Baroque, and its main renovator in Holland is Frans Hals who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portrait, of virtuous and elaborate execution, at the beginning of the 17th century a general reaction was unleashed, based on compositional austerity and operational sobriety. Thus, against the desire for virtuosity of the previous century, the portraitists of the Dutch Baroque recovered the previous models in a more sober and solid way, focusing on the characterization of the characters, the elegance of the poses and the delicate capture of the qualities of the different objects.Italian school; 17th century.

Dutch School, XVII century."Birds".Oil on canvas.Size: 133 x 168 cm.; 157 x 193 cm. (frame).The animalistic genre, and specifically the painting of birds, knew in Holland an own development. Specialists in birds were painters who enjoyed high recognition, as Jan Baptist Weenix and Melchior de Hondecoeter. The latter received numerous commissions from William III. The present painting has clear similarities with Hondecoeter's work, which can be seen in the placement of poultry and wild birds in the foreground in front of a wooded landscape, in the precise reproduction of the plumage, in the atmospheric nuances and qualities, in the individualized treatment of each species... This is a response to the leisurely observation of the habits of the animals: This type of painting was highly appreciated by his contemporaries, and was destined for the decoration of bourgeois and stately mansions in the countryside. The owl occupies a central place, and its oversized size introduces an element of tension, breaking into the apparent tranquility of the scene. The Flemish influence was notable in the Dutch school of the Baroque period, from which this painting does not escape either.

Spanish or Italian school; ca. 1700"The Arrival of the Virgin and St. Joseph in Bethlehem".Oil on canvas. Relined.Presents repainting and restorations.Size: 119 x 165 cm.In a dramatic illuminated scene, some characters lean out of the window, to listen to the supplications of Joseph and Mary, who are outside. Joseph with his back to the viewer and looking directly at the characters in the window, seems to adopt an imploring attitude, pointing to Mary, who stands out for her tired gesture, with a distressed face and her hand resting on her belly. This development of the scene invites us to think that it is the moment in which St. Joseph and Mary travel to Bethlehem, because by decree of King David, all children must be registered in that city. The moment that the work captures shows how they were denied accommodation, so that they had to resort to a manger. It is a previous moment, where the author does not try to show the joy of the birth of Christ, which takes place moments later. Therefore, it is a moralizing scene that invites the viewer to reflect on the human condition, on humility and charity, values proper to Christianity.Baroque painting, both Italian and Spanish, is one of the most authentic and personal examples of art, because its conception and form of expression arose from the people and the deepest feelings that nestled in it. With the economy of the State broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus compelled to embody the prevailing ideals in these environments, which were none other than religious ones, at a time when the counter-reformist doctrine demanded from art a realistic language so that the faithful would understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious subject is, therefore, the preferred theme of Spanish painting of this period, which in the first decades of the century starts from a priority interest in capturing the natural, to progressively intensify throughout the century the expression of expressive values, which is achieved through the movement and variety of gestures, the use of light resources and the representation of moods and feelings.

ESTEBAN MÁRQUEZ DE VELASCO (Puebla de Guzmán, Huelva, 1652 - Seville, 1696), attributed."Santiago el Menor".Oil on canvas.Period frame.Size: 103 x 82 cm; 110 x 88 cm (frame).The apostle James the Less is represented with his characteristic attributes, the Holy Scriptures and a staff, in a recollected attitude before the open book. The painting is stylistically inscribed in the Andalusian baroque, being observed in it the handling of a strong chiaroscuro. The features have been modeled according to a naturalistic expression, in which Marquez de Velasco showed special mastery.Esteban Márquez de Velasco was a Spanish painter, known mainly as a follower of Murillo, who trained in Seville with his uncle, the painter Fernando Márquez Joya, with whom he worked and learned until 1672. Although we do not have much information about his life, comparing the work that remains of the master we can appreciate a number of characteristics and facts: a great influence of Murillo, even taking outlines and figures in particular; his important workshop made an abundant production, partly also for export to America, hence the difference in quality between some works.A series of signed and dated works are also known, but they are late: "Lactación de Santo Domingo" from the Parish of Santa María de Nieves de Fuentes de Andalucía in Seville, from 1693, "San Agustín y San José con el Niño" today in the Museum of Fine Arts of Seville, a series of the Life of Saint Francis of Assisi conserved in Guadalajara (Mexico), a series of the life of the Virgin of the convent of the Trinity of Seville, dispersed in several American museums after its sale at the beginning of the XIX century, etc.

Circle of BLAS DE PRADO (Camarena, Toledo, around 1545- Madrid, 1599)."St. Jerome.Oil on canvas.Relined.Frame of the XVIII century.Size: 130 x 108 cm; 140 x 120 cm (frame).In this canvas the theme of St. Jerome penitent in the desert is approached through a scenographic and open composition, with a silver illumination that succeeds in the way of enhancing the pathos of the scene. The painting is attributed to Blas de Prado, whose work was characterized by his monumental figures, skillfully modeled with a contrasting light, as is the case here. The saint appears full-length, chiseled by the chiaroscuro, his torso being naked and the muscles of his legs partially covered by the draped mantle, of intense crimson tone. The saint appears in a rocky environment, open to a nocturnal landscape with a waterfall. Next to him we see the lion, lying at his feet, the skull and a crucifix, all enveloped in a nuanced penumbra.Blas de Prado was a painter of whom we have, so far, little biographical information. He worked mainly in Toledo, where there are some contracts located in the surroundings of the city and where contemporary sources mention him. It is also known that he worked at the court, earning the appreciation of Philip II.It is known that he painted portraits, Francisco Pacheco considers him as the introducer of the still life in Spain (he was Juan Sánchez Cotán's teacher) and, besides knowing the Italian production by his works in El Escorial, there are those who defend the possibility of a trip to Italy that would allow him to know the works first hand, influenced, above all, by Michelangelo in several conserved works.At present, it is possible to appreciate his painting only in outstanding private collections and institutions such as the Prado Museum in Madrid, the Museum of Santa Cruz in Toledo, the Cathedral of Valencia, the Collegiate Church of Santa Maria la Mayor in Talavera de la Reina (Toledo), in the Palace of Liria (Madrid), drawings in the Uffizzi Gallery in Florence, the Louvre Museum in Paris, etc..

Renaissance school, the first third of the sixteenth century. Master of the environment or workshop of FELIPE DE BIGARNY (Langres, France, 1475 - Toledo, 1543)."The Annunciation", "The Visitation", "The Nativity" and "The Adoration of the Kings".Set of four important reliefs in carved, polychrome and gilded wood, which come from the same altarpiece.Measurements: 77 x 66 x 8 cm, 77 x 66 x 6 cm, 77 x 66 x 7 cm and 76.5 x 63.5 x 6 cm.Due to its physical and formal characteristics, the important group of four reliefs that we present fits within the remarkable sculptural focus developed in Burgos at the beginning of the 16th century, which had Felipe de Bigarny as one of its greatest exponents. We can highlight, among other aspects, the extraordinary state of conservation of the original polychromy, the gilding, the stew and the carving in general, which, over the years, has remained practically intact.Within the arrival of the new Renaissance doctrines in Spain, specific centers such as Aragon, Burgos or Granada stood out. Specifically, the Burgos focus counted with the presence of Diego de Siloé, who worked extensively in the cathedral of Burgos, elaborating the chapel of the Constables together with Felipe Bigarny, in the lateral altarpieces and in the Golden Staircase. His good work as a Renaissance sculptor was evident throughout the province of Burgos. From the artistic point of view, 16th century Spain underwent a process of transformation towards the new art of humanism implanted in Italy, much slower due to the need to learn the new techniques and, of course, to change the taste of the clientele. Sculpture reflects, perhaps better than other artistic fields, this eagerness to return to the classical Greco-Roman world. Anatomy, the movement of the figures, compositions with a sense of perspective and balance, the naturalistic play of the folds, the classical attitudes of the figures soon began to be valued; but the strong Gothic tradition maintains the expressiveness as a vehicle of the deep spiritualist sense that informs our best Renaissance sculptures. This strong and healthy tradition favors the continuity of religious sculpture in gilded and polychrome wood, which accepts the formal beauty offered by Italian Renaissance art. In the first years of the century, Italian works arrived in our lands and some of our sculptors went to Italy, where they learned first hand the new norms in the most progressive centers of Italian art, whether in Florence or Rome, and even in Naples. Upon their return, the best of them, such as Alonso Berruguete, Diego de Siloé and Bartolomé Ordóñez, revolutionized Spanish sculpture, even advancing the new mannerist, intellectualized and abstract derivation of the Italian Cinquecento, almost at the same time that it was produced in Italy.Felipe Bigarny, was a master sculptor and carver from Burgundy living in Spain, considered one of the most distinguished of the Spanish Renaissance. He also presented some projects as an architect. In his works coexist Flemish, Burgundian and Italian Renaissance features. He achieved great prestige and became the master of sculpture and carving of the Cathedral of Burgos. He also intervened in important works throughout the Crown of Castile, managing several workshops simultaneously, which gave him a good socioeconomic position.

Workshop of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."St. Francis of Paula" ca.1630.Oil on canvas.Size: 120 x 103 cm; 128 x 112 cm (frame).In this canvas is represented San Francisco de Paula of half body, in pensive position, with the glance directed upwards, in the direction of a halo of light that emanates from the top right part of the composition and in which the word "Caritas" can be read. He appears dressed in dark sackcloth, typical of his hermit character, accompanied by the staff, his main iconographic attribute, and with the Holy Scriptures in front of him, also illuminated by a spotlight that falls directly on them. It is a work perfectly framed within the naturalistic baroque, heir of José de Ribera, starring a totally earthly man, with a face far from any idealization. San Francisco de Paula is presented as a real person, with personalized features typical of the individualized study, furrowed by deep wrinkles. As usual within the naturalistic baroque, the composition is simple and clear, with the character in the foreground against a neutral and dark background that enhances his physical presence. Apart from the human model and this composition, the lighting is also clearly naturalistic, a tenebrism derived directly from Ribera that is based on an artificial, directed spotlight that penetrates the painting through the lower left corner and falls on the face and hands of the saint, also illuminating the writings and the table in the foreground, leaving the rest in a nuanced penumbra, very worked, as we can see in the perfectly achieved mantle, characterized by its realism, despite being enveloped in shadows. The chromatism is also typical of this school, very limited around the ochers, earthy, reflecting the warm and naturalistic atmosphere.Regarding the subject, it represents Saint Francis of Paola (Calabria, Italy, 1416-Tours, France, 1507), hermit founder of the Order of the Minims and saint of the Catholic Church in the Italian region of Calabria. Legend has it that St. Francis became seriously ill of the eyes, reason for which his parents entrusted themselves to St. Francis, curing their son's eyes. To be grateful for the miracle, at the age of fourteen he went on pilgrimage to Assisi, thus becoming a hermit. For five years he withdrew to the mountain, feeding only on water and wild herbs, sleeping on the hard ground, with a stone as a pillow. He was canonized in 1519, only twelve years after his death, during the pontificate of Pope Leo X. In the early years of the 16th century, the Order of the Minims entered Spain, acquiring great diffusion due to the values of Franciscan preaching that they spread, which, linked to the recent canonization of the saint and his way of life and poverty, strongly influenced the Spanish Christian population.Due to the aforementioned formal characteristics, this painting can be related to the circle of José de Ribera, a key painter for the development of the naturalistic baroque not only in Spain, but also in Italy and in other national schools, given the great diffusion of his work. Called the Españoleto, he was a key master of the Spanish Baroque, and in general of the history of art at the European level. Although no documentary sources or evidence of his youth are preserved, it is believed that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he learned first-hand about the classicists and the Caravaggesque tenebrism of the Dutch who settled there. Finally he settled in Naples, where he arrived in 1616. Then began his period of maturity and splendor; Ribera enjoyed fame and a large workshop, and his works spread throughout Europe through engravings.

South German school, late 15th-early 16th century."St. Michael the Archangel".Wood carving stewed and polychromed by hand in various colors and fine gold.Measures: 105 x 40 x 25 cm .It represents St. Michael with a late gothic armor, typical of southern Germany and Austria, and with the body arched in the form of that (attack position). We can appreciate draperies (folds) in the cape, as well as a great work in the treatment of the hair. It has some flaws, the most notable are some extremities of the devil. The sword he carries is from a later restoration and is not original to the work.Sculpture close to the type of work of the Masters Michael Pacher, active in Salzburg between 1460 and 1498, as well as with that of Hans Leinberger (Bavaria, 1480 - 1531). The face is elongated and the flesh tones are whitish. This work resembles the "St. Stephen" on display in the Metropolitan Museum in New York.St. Michael is the protector and patron of the Church, conqueror of the devil and executor of divine justice. He is depicted wearing chain mail and a knight's helmet, as well as a shield on which one can read "Quis sicut Deus?" (QSD), that is, "who as God?", which is apparently what the name of the archangel itself means. He usually carries a spear and flaming sword. His iconographic representation follows the description in the Book of Revelation, 12: 7-9, which explains the battle of the heavenly armies of the archangel Michael against the rebellious angels led by Satan: "Then there was a great battle in heaven: Michael and his angels fought against the dragon. The dragon and his angels fought, but they did not prevail, and there was no longer any place found for them in heaven. And the great dragon was cast out, the serpent of old, who is called the Devil and Satan, who deceives the whole world. He was cast down to the earth, and his angels were cast down with him."

Castilian school; first quarter of the sixteenth century."Virgin imposing the chasuble to San Ildefonso".Oil on panel. Cradled.Brushed board, has restoration.Size: 149 x 101 cm; 169.5 x 121 cm (frame).Devotional scene, in which the author presents the Virgin, accompanied by a saint, kneeling before her, and three angels arranged in the upper part of the composition, carrying the crosier, the chasuble and the mitre. This symbolism indicates that it is the representation of a passage from the life of Saint Ildefonso, specifically the one that refers to the night of December 18, 665. When Saint Ildefonso went to the church to sing hymns in honor of Mary, accompanied by his clerics and some other people. However, when they entered, they found the chapel shining with such a dazzling light that they were afraid. All fled except Ildefonso and his two deacons, who entered and approached the altar. Before them stood the Virgin Mary, seated on the bishop's chair, surrounded by a company of virgins singing heavenly songs. Mary beckoned the saint to approach and, having obeyed, she fixed her eyes upon him and said, "You are my chaplain and faithful notary. Receive this chasuble which my Son sends you from his treasury." Having said this, Our Lady herself invested him, instructing him to wear the chasuble only on feast days designated in her honor. St. Ildefonso of Toledo (Toledo, 607-667), son of Visigoth parents and nephew of St. Eugene III, was archbishop of Toledo between 657 and 667, and is one of the Fathers of the Church. He studied in Seville under the tutelage of St. Isidore, and entered the order of St. Benedict fleeing from his parents, nobles who were opposed to his priestly life. He would later be elected abbot of Agalia, near Toledo, and finally archbishop. St. Ildefonso unified the liturgy in Spain, and wrote numerous works of liturgical and dogmatic character, particularly on the Virgin Mary.Spain is, at the beginning of the 16th century, the European nation best prepared to receive the new humanist concepts of life and art due to its spiritual, political and economic conditions, although from the point of view of the plastic forms, its adaptation of those implanted by Italy was slower due to the need to learn the new techniques and to change the taste of the clientele. Soon the anatomy, the movement of the figures, the compositions with a sense of perspective and balance, the naturalistic play of the folds, the classical attitudes of the figures began to be valued; but the strong Gothic tradition maintains the expressiveness as a vehicle of the deep spiritualist sense. This strong and healthy tradition favors the continuity of religious painting by adding a sense of balance that avoids its predominance over the immaterial content that animates the forms. In the first years of the century, Italian works arrived in our lands and some of our artists went to Italy, where they learned first hand the new norms in the most progressive centers of Italian art, such as Florence or Rome, and even in Naples.

BRUEGHEL family; Second half of the sixteenth century."Landscape."Oil on oak panel. CradledPresents frame following ancient models.Measures: 36 x 18 cm; 70 x 54 cm (frame).With a relatively high horizon, where the sky composed by a gradation of blue tonalities, hardly occupies space, the author, grants the protagonism of the scene to the landscape. A costumbrist view conceived through successive planes. In the center of the scene, two figures hold a conversation. However, their small dimensions indicate the artist's interest in capturing the landscape. By theme and style it is very close to the painting developed by the important dynasty of Dutch painters, the Brueghels. The meticulous and expressive drawing characterizing the characters and their vivid behaviors is combined with a freer brushstroke in the representation of the landscape, also splendid, working in different levels of depth, assuming bluish tones in the horizon.During the 17th century, the Flemish school experienced great splendor and artistic development. The strategic location of the area, and the presence of one of the most important ports of the time, gave rise to the proliferation of a new social class, composed of merchants, who possessed a large capita. This new society enjoyed the advantages of their economic position, however, they did not have the aristocratic titles, so they began a race for social position through culture. In addition, due to the rupture with Rome and the iconoclastic tendency of the reformed Church, paintings with religious themes ended up being eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone, in accordance with the new society. Thus, portraits, landscapes and animals, still life and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals of almost all classes and social strata: The tandem formed by Peter Paul Rubens and Jan Brueghel the Elder, the one composed by Hendrick van Balen and Jan Brueghel de Velours, or the one comprising the figures of Jan Brueghel the Younger and Pieter Van Avont, are proof of the success of this type of contributions in 17th century Flanders.

Circle of ANTON VAN DYCK (Antwerp, 1599-London, 1641)."Portrait of Charles I of England."Oil on canvas. Relined.Size: 71 x 61,5 cm.On a neutral background is defined the royal portrait of the monarch Charles I of England. Sober in the composition and the chromatic range used by the author, since on the portrayed only stands out the indigo band that hangs under the great ruff, which indicates his belonging to the order of the Jarreta. With broad shoulders and an elongated face, the author presents us with a psychological portrait where austerity and authority come together. The monarch fixes his gaze on the viewer, in an unperturbed and imperturbable way, thus transmitting all his power. The work is somewhat reminiscent of the "triple portrait of Charles I", painted by Van Dyck in 1635, and kept in the collection of the Prado Museum in Madrid. This portrait was painted with the intention of sending it to Rome, so that Bernini could create a bust.Anton van Dyck, key painter of the Flemish Baroque and one of the most important portraitists of the 17th century. Anton Van Dyck began his training with Van Balen, a Romanist painter, in 1609. In 1615-16 he worked with Jordaens, and between 1617 and 1620 with Rubens, who said that he was his best pupil. In 1620 he visited England for the first time, in the service of James I, when he was only twenty-one years old. In London he enjoyed greater freedom and left aside religious painting to devote himself fully to portraiture. Between 1621 and 1627 he completed his training with a trip to Italy, being particularly impressed by Bolognese painting and the works of Titian. It was in Italy where he achieved his mature, refined and elegant style, as well as configuring his type of portrait, which became a model for Western painting. In Italy his fame as a portraitist was also established, and he enjoyed immediate success wherever he worked, painting portraits of the most important noble families of Italy, as well as the Pope and various members of the Roman Curia. In 1629 he was again in London, this time working for King Charles I, who admired Titian's work and saw in Van Dyck his heir. Thus, he dismissed all his painters, having found in Van Dyck the court painter he had wanted for years. In 1640, on the death of Rubens, the painter returned to Antwerp to finish the works he had left unfinished. The following year he moved to Paris, where he painted the wedding portrait of King William II and Princess Mary. That same year he returned hastily to London for health reasons, dying shortly thereafter at his home in the English capital. Anton Van Dyck is represented in major museums around the world, such as the Louvre, the Prado, the Kunsthistorisches in Vienna, the National Gallery and the British Museum in London, the Hermitage in St. Petersburg and the Metropolitan in New York.

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A box of vinyl 45 rpm single records with The Who, Mud, The Beatles etc Condition Report: Available upon request

Two boxes of rock, pop and prog rock and movie theme vinyl LP{ records with Queen, The Beach Boys, Status Quo, Peter Frampton, Key Largo, The Guess Who, The Monkees, The Moody Blues, Los Bravos, 2001 Space Odyssey etc Condition Report: Available upon request

After Lydia Dreams (Walter H Lambert) (1869-1949)'Popularity', hand-coloured photogravure depicting prominent Music Hall Artists of the day 1901-1903, accompanied on the reverse by a key to 231 characters including Dan Leno, Harry Lauder, Will Evans, George Robey, Marie Lloyd, Vesta Tilley and Little Titch, engraved and printed by The Art Photogravure Company Ltd, 40.5 x 95cm (im), 52 x 108 (sh), unframed Lydia Dreams (1869-1949) Ventriloquist and PainterLydia Dreams was a female impersonator ventriloquist who played a nurse using her dummy for a patient. She was active in the early decades of the 20th century.Her male persona, Walter H Lambert was also a talented painter. The best known painting was Popularity, 1903, a canvas 13' by 5'6" (4 x 1.68m) which depicts 226 prominent music hall artists. It is situated at the junction of Lower Marsh and Waterloo Road, London, which was known in the profession as Poverty Corner where unemployed artists gathered. In 1908 it was put on show at the Vaudeville Club but in 1914 when the owner of the painting died, it was sold for £140. It is now in the Museum of London.

English school (early 18th century)Portrait of Dickson Downing wearing powdered wig, white cravat and buttoned pale blue jacket, inscribed 'Dickson Downing Esq.' 1728, oil on canvas, 73 x 61cm, in period gilt frame Dickson was the son of Richard Downing and Elizabeth Dickson (he was her second husband) and grandson of Maj Downing of the Guards, who was mentioned in Pepys Diary in 1666 as Capt Downing. Dickson married Bridget Baldwin and their son (Rev) George was Prebendary of Ely Cathedral who married Catherine Chambers, daughter of Nathaniel Chambers, barrister-in-law

Ɵ MOUNTAINEERING: America and Canada. Five Works: four first editions, 1903-1948. comprises: STUTFIELD, Hugh. (1858 - 1929). and COLLIE, J. Norman. (1859 - 1942). Climbs & Explorations in the Canadian Rockies. Longmans, Green and Co., 1903. first edition, 8vo., (230 x 150mm), publisher's grey cloth, gilt lettering to front and spine, foredge and lower edge untrimmed, half-title, 52 plates, 2 sketch maps, (including folding coloured map at end), 343pp. 'One of the classics of the Canadian Rockies.' Neate S177: LANGFORD, Nathaniel Pitt. (1832 - 1911). Diary of the Washburn Expedition to the Yellowstone and Firehole Rivers in the year 1870. (St. Paul, Minnesota: J. E. Haynes, 1905). first edition, 8vo., (210 x 150mm), publisher's blue pictorial cloth, gilt lettering to front and spine, bevelled edges, gilt top, lacks publisher's credit page, frontispiece portrait, illustrations throughout text, 122pp. with three leaves of original sketch reproductions at end, a small coloured map of Niagara Falls loosely inserted. Nathaniel Pitt Langford was an American explorer, businessman, bureaucrat, vigilante and historian who played an important role in the early years of the Montana gold fields and the creation of Yellowstone National Park. Langford was a member of the 1870 Washburn, Langford, Doane Expedition which explored the region soon to became the Yellowstone National Park. Mount Langford, in the Absaroka Range, 7.5 miles east of Yellowstone Lake was scaled by Langford and Doane during the expedition and named after him: ADAMS, Ansel. (1902 - 1984). and ADAMS, Virginia. (1904 - 2000). Illustrated Guide to Yosemite Valley. H.S. Croker Co., Inc., San Francisco, California, 1940. first edition as stated, 8vo., (210 x 160mm), spiral-bound, soft blue illustrated wrappers,b/w. photo. illustrations, 2 colour maps, 128pp: ADAMS, Ansel. (1902 - 1984). and MUIR, John. (1838 - 1914). Yosemite and the Sierra Nevada. edited by Charlotte E. Mauk. Boston: Houghton Mifflin Company, The Riverside Press, Cambridge, 1948. first edition, 8vo., (270 x 210mm), publisher's brown cloth, brown lettering to front and spine, dustwrapper unclipped, half title, 64 photo. illustrations after selections from the works of John Muir, 132pp: with a reprint of The Geographical Journal, vol. CXI. nos. 4-6, April - June, 1948. Frank Smythe, An Expedition to the Lloyd George Mountains, North East British Columbia, Evening Meeting of the Society, 15 December, 1947. 8vo., (240 x 160mm), blue paper wrappers lettered in black, b/w. photo. illustrated, 2 full-page maps, pp. 160-171, within a patterned cloth, paper boards folder, a previous ownership name to inside flap. each volume within removeable clear wrappers. (5)             Condition Report: 1. Climbs & Explorations in the Canadian Rockies - clean boards, corners scuffed, spine bumped head/tail, foxing to e/ps., previous ink ownership to front pastedown, some toning to leaf edges and a few pages. 2. Diary of the Washburn Expedition to the Yellowstone and Firehole Rivers in the year 1870 - lacks publisher's credit page, and thus without publisher's imprint of J.E. Haynes noting first issue, a few marks to the clean, bright boards, minor scuffing to corners and spine, some minor foxing to edges and toning mostly to leaf edges. 3. Illustrated Guide to Yosemite Valley - light wear and minor marks to covers, some minor foxing to title page, a few marks and stains internally. 4. Yosemite and the Sierra Nevada - clean boards, spine bumped head/tail, wear to dustwrapper and some tears (with loss) to top r.h. front corner and head/tail of spine, toning to leaf edges, o/w. a clean copy. 5. The Geographical Journal, vol. CXI. nos. 4-6, April - June, 1948. minor marks to blue paper wrappers, leaf edges a little marked and toned, o/w. a clean copy. Condition Report Disclaimer

Ɵ WASHBURN, Bradford. (1910 - 2007). Four Works: first editions, SIGNED by the author, 1927-1930. comprises: G.P. Putnam's Sons, Knickerbocker Press, New York, London. Among the Alps with Bradford, 1927. 8vo., (200 x 145mm), publisher's orange cloth, black lettering to front and spine, pale blue map illustrated e/ps., half-title, SIGNED and dated 2002 by the author to title page, 44 b/w. photo. illustrations (including frontispiece), publisher's catalogue at end, 160pp: Bradford on Mount Washington, 1928. 8vo., (200 x 145mm), publisher's purple cloth, dustwrapper unclipped, map illustrated e/ps., half-title, SIGNED and dated 2002 by the author to front map illustrated e/p. half-title, 31 photo. illustrations (including frontispiece), sketches, publisher's catalogue at end, 123pp: a duplicate copy of Bradford on Mount Washington. 1928. 8vo., publisher's purple cloth, map illustrated e/ps., half-title, SIGNED and dated 2002 by the author to front map illustrated e/p., 123pp: Bradford on Mt. Fairweather. 1930. 8vo., (200 x 145mm), publisher's blue cloth, half-title, photo. illustrated e/ps., SIGNED and dated 2002 by the author to front e/p., 31 b/w. photo. illustrations (including frontispiece), 3 maps, publisher's catalogue at end, 127pp. each volume within removeable clear wrapper. Bradford Washburn was one of America's foremost mountaineers. He led many first ascents and established new routes on several Alaskan peaks, often climbing with his wife Barbara who was a pioneer among female mountaineers. (4) Condition Report: 1. Among the Alps - cloth bright, foxing to edges, first free e/ps, title page, and pp.143 - 160. 2. Bradford on Mount Washington. 1928 - purple boards worn, spine faded and bumped head/tail, dustwrapper clean with chips to spine and corners, toning throughout with light foxing to a few pages. 3. Bradford on Mount Fairweather. duplicate copy. 1928. ( purple cloth, lacks dustwrapper) - boards marked, corners scuffed, spine faded and bumped head/tail, frontispiece present but detached, toning throughout. 4. Bradford on Mt. Fairweather (blue publisher's cloth) - light marks to boards, spine faded, toning throughout. Condition Report Disclaimer

Ɵ MOUNT McKINLEY: Two Works: first editions, 1913 - 1914. comprises: BROWNE, Belmore. (1880 - 1954). The Conquest of Mount McKinley. The Story of Three Expeditions through the Alaskan Wilderness to Mount McKinley, North America's Highest and Most Inaccessible Mountain. G.P Putman's Sons, New York, 1913. first edition, 8vo., (230 x 170mm), publisher's gilt pictorial cloth, gilt lettered decorative spine, gilt top, others untrimmed, map illustrated e/ps., previous ownership signature to front free, colour frontispiece from a painting after Belmore Browne, numerous colour and b/w. plates, folding part-coloured map at end, appendix by Herschel C. Parker, 381pp. plus 4pp. publisher's adverts. at end. Belmore Browne was a painter who accompanied many expeditions, including three attempts to reach Mount McKinley's peak, he was instrumental in disproving Dr. Cook's claim to have climbed the peak: STUCK, Hudson (1863 - 1920). The Ascent of Denali (Mount McKinley). A Narrative of the First Complete Ascent of the Highest Peak in North America. New York: Charles Scribner's Sons, 1914. first edition, 8vo., (220 x 150mm), publisher's green illustrated cloth, gilt lettering to front and spine, foredge and lower edge untrimmed, half-title, frontispiece, photographic plates, folding map at end, 188pp. Hudson Stuck was a British native, episcopal priest, and mountaineer in the United States, who co-led with Harry P. Karstens, the first expedition to successfully climb Denali (Mount McKinley) in June 1913; both volumes within removeable clear wrapper. (2)     Condition Report: 1. The Conquest of Mount McKinley - clean boards, bumped to tail of spine, some toning to leaf edges, the map clean. 2. The Ascent of Denali (Mount McKinley) - boards clean save a few light marks, corners scuffed, spine bumped head/tail, front e/ps. with clean tear at hinge, a few leaf edges with edge chips, map clean. Condition Report Disclaimer

Ɵ TYNDALL, John. (1820 - 1893). Mountaineering in 1861 A Vacation Tour. London: Longman, Green, Longman and Roberts, 1862. first edition, 8vo., (210 x 150mm), rebound half morocco, gilt bands and gilt lettering to spine, new brown e/ps., half-title, wood-engraved frontispiece depicting the Weisshorn, and one plate depicting the Matterhorn, lacks 8pp. of adverts. at end, 105pp. John Tyndall was a physicist and mountaineer who led one of the earliest teams to reach the summit of the Matterhorn in 1868: STEPHEN, Leslie. (1832 - 1904). The Playground of Europe. Longmans, Green and Co., 1899. reissued in The Silver Library. January 1899. new impression, 8vo., (109 x 104mm), publisher's maroon gilt ruled cloth, gilt lettering to spine, pictorial swan illustrated e/ps., foredge untrimmed, 4 wood-engraved illustrations including frontispiece with tissue-guard and title vignette, 339pp., plus 32pp. adverts at end. both volumes within removeable clear wrapper. Sir Stephen Leslie was an English author, historian, and mountaineer, one of the earliest presidents of the Alpine Club, and father of Virginia Woolf and Vanessa Bell. (2) Condition Report: 1. Mountaineering in 1861 - new e/ps., foxing mostly to e/ps. and half-title, further sporadic foxing to some pages, including to the Matterhorn plate opposite pp.82 2. The Playground of Europe - boards lightly marked, spine faded, intermittent foxing internally, and to leaf edges. Condition Report Disclaimer

Ɵ JOURNAL: The Travel Journey of Heather F. Masterman, an English woman travelling to Russia through Europe. (1907 - 1908). in English (with one loose leaf in German). a single volume, quarter leather over marbled boards, printed label to upper cover with ink manuscript inscription reading 'Diary in Russia 1908-8. Heather F. Masterman'. 4to., 238 x 190mm, 66 leaves and 17 additional extracts of commentary (some loose, others tipped-in), plus an additional c. 60 blank leaves, single column, mostly 23 lines to the page, with entries in two hands, all in pen, one original black and white photograph, 9 postcards, and a dinner menu pasted to first few leaves, manuscript ink inscriptions of previous owners and inheritors of the diary to front pastedown.   A travel journal of a young woman travelling to Riga, then in Russia, from England, by way of Germany and Copenhagen aboard the S.S. Lara on Saturday 31 August, 1907. She travelled with her companion (only referred to as 'D', and only ever referred to as her 'husband' once on a separate piece of paper in German, the couple listed points of improvement to their rooms that they wished to discuss with their landlady). It appeared their reason for travelling to, and taking rooms with a family in Riga, was in order for 'D' to improve his Russian. On their journey and after their arrival, it is clear that Heather and her husband were well connected with the British Consul who met them from S.S. Lara, accompanied them through Customs, and dined with them and other members of high society on a regular basis. They were taken to concerts and offered practical advice regarding lodgings, doctors, etc., The couple surrounded themselves with English friends, attended the English church, and were sent British newspapers including The Graphic, Weekly Times, and The Consulate. They clashed with the manners and customs of people in Riga and argued on more than one occasion with their landlady, referring to her as 'impossible' and 'a most trying woman to deal with' and 'cannot understand [daily] baths and open windows'. Their lodgings were clearly not as comfortable as they were used to, the bedroom likened to 'an extremely shabby servants room in England', inadequately furnished and lacking in sunlight. The couple were unhappy with their choice of landlady and host family as they did not try to converse with 'D' in Russian, food was not to their liking, and table manners were not what they were used to, complaining they 'do not always have a white cloth, sometimes we use a red and blue one, or a piece of oil cloth.' Towards the end of the main body of the manuscript, Heather appeared to have a child, however, there is no direct mention or hint at her being pregnant in her account up until this point, there are 2 leaves missing here (likely containing details of childbirth). Starting at the rear of the notebook, is a transcribed translation over 7 leaves, of an article from a Riga newspaper from September 1907, (the same time as the arrival of Heather and 'D'in the city). It describes the trial of 60 men accused of 'revolutionary affairs in the Kokengousnk & other Volosts [administrative subdivisions in Eastern Europe] of the Riga district'. The article describes in detail the objective of overthrowing the established fundamental laws of the Livonian Governments, and commencing local substitution of a Lettish Social Democratic Republic, in place of the ordinary course of Government. Criminal activities of the men are described which included obtaining weapons, attacking the house of the assistant of the Chief of the Riga district and killing him and dragoons, imprisoning and killing a priest, Cavalry Captain von Stern, clerks and others, damaging the railway, burning a castle and other buildings. The conflict between the Baltic German nobility and the Livonian peasants resulted in martial law being declared in Livonia. The article is a significant and important first-hand account of an early act of civil unrest relating to the 1905 Revolution called 'The Great Dress Rehearsal' by Lenin, and seen as a precursor and a key contributing factor in the victory of the 1917 October Revolution. An interesting document recording daily life of British people travelling to the continent, with reference to figures of high society, their views of the locals, their learning of the language and the cost of living including food and lodgings. Furthermore, an interesting contemporary newspaper account of a significant event in local history with probably one of the earliest/only translations of it into English. (1) Condition Report: wear and rubbing at corners and edges, covers slightly worn and scuffed, creasing at upper and lower hinges, rubbing with a small amount of loss at head and tail of spine, a little foxing to edges of a few pages, 2 leaves cut out roughly at the margin, overall good condition.   Condition Report Disclaimer

Ɵ HUNT, John (1910 - 1998). The Ascent of Everest. SIGNED. Hodder & Stoughton, 1953. single volume, first edition, 8vo., (230 x 160mm), publisher's blue cloth, gilt lettering to spine, dustwrapper unclipped, design by W. Heaton Cooper, SIGNED by the author (expedition leader) to the title page, and further SIGNED by nine members of the 1953 British Expedition team, including George Lowe, George Band, Hamish McInnes, Mike Westmacott, Alfred Gregory, Edmund Hillary, Charles Wylie, Michael Ward, and correspondent from The Times, James Morris, who accompanied the expedition, 8 colour photo. illustrations including frontispiece, 48 half-tone plates and numerous in-text illustrations, 300pp., within removeable clear wrapper. (1) Condition Report: clean, bright cloth with minor marks, spine bumped head/tail, dustwrapper with some nicks, a clean copy. Condition Report Disclaimer

Ɵ PARK, Mungo. (1771 - 1806). The Journal of a Mission to the Interior of Africa in the Year 1805. John Murray, London. 1815. single volume, second edition, 4to., (269 x 220mm), modern quarter black leather over marbled boards, gilt lettering and raised bands bordered in gilt to spine, seemingly complete, half-title, advertisement to the second edition, 'African words' list, appendix, 1 folding hand-coloured map. This second edition, revised and corrected with additions, was printed in the same year as the first edition. It appears to be an enlarged second edition with a variant of the same title found in Oxford Bodleian Library (CC 121 Art. Seld.), with a pagination of only 219 pages, whereas the present volume includes 373 pages. Mungo Park was a Scottish explorer of West Africa, and this text records his travels of the upper Niger in 1805. Following a previous exploration in 1796 he published a text in which he theorised that the Niger and Congo merged to become the same river, a theory which was later disproved. Park was regarded as an enemy of many of the tribes who lived along the route on which he travelled, he drowned whilst trying to escape attacks from local natives. His observations are striking for lacking in emotion, and this set a standard that future travel writers would follow. (1) Condition Report: clean and bright binding, first and last few leaves lightly foxed. Condition Report Disclaimer

Ɵ HUNT, John. (1910 - 1998). Four Works: three volumes SIGNED by the author, with a related SIGNED volume, 1954-1978. comprises: Our Everest Adventure. The Pictorial History from Kathmandu to the summit. SIGNED. Brockhampton Press, Leicester, 1954. first edition, 8vo., (250 x 190mm), map illustrated blue and white cloth, white lettering to spine, dustwrapper unclipped, half-title, SIGNED to the title page by the author, George Lowe, and George Band, numerous photo. illustrations, 128pp: HUNT, John. The Ascent of Everest. SIGNED, University of London Press Ltd., 1954. edited and abridged edition for schools, 8vo., (200 x 140mm), rebound gilt illustrated titled leather, new e/ps., SIGNED and dated 15 October 1962 by the author to half-title, 160pp. HUNT, John. Life is a Meeting. SIGNED. Hodder & Stoughton, 1978. first edition, 8vo., (240 x 170mm), publisher's black cloth, gilt lettering to spine, dustwrapper clipped, SIGNED by the author to title page, 286pp: together with: HUNT, Ethel Helen. (b. 1884). A Rainbow of Memories. SIGNED. [privately printed] circa. 1973. first edition, Limited to 100 copies, this being number 100, blue cloth, silver lettering to front, SIGNED by Ethel Hunt to the limitation leaf, b/w. photo. illustrated, 58pp. with a loosely inserted 1pp., 30 lines, typed note about the author's husband, Captain Cecil Edwin Hunt M.C. (1880-1914), who was reported missing in action 19 December 1914, near Givenchy, France, with a newspaper clipping featuring an article about Mrs. Hunt and her published book. Ethel Helen Hunt (nee Crookshank), was the wife of Captain Cecil Edwin Hunt MC, and mother of Brigadier Cecil John Hunt, Baron Hunt KG, PC, CBE, DSO, British Army officer and leader of the successful 1953 British Expedition to Mount Everest. each volume within removable clear wrapper. (4) Condition Report: 1. Our Everest Adventure - some foxing to dustwrapper, toning internally, o/w. a clean copy. 2. The Ascent of Everest - minor marks to boards, spine with slight wear head/tail, blue ink blob lower r.h. margin pp48, some minor marks internally. 3. Life is a Meeting - a clean copy. 4.. A Rainbow of Memories - boards marked and stained, corners scuffed, spine bumped head/tail, stained to front pastedown, o/w. clean internally. Condition Report Disclaimer

Ɵ THESIGER, Wilfred. (1910 - 2003). Eight Works, and one related: five volumes SIGNED by the author. London, 1959-2001. comprises: Arabian Sands. SIGNED. Longmans, 1959. first edition, SIGNED by the author, with a loose signed note from the author's brother, Gerald Thesiger on notepaper headed with a Chelsea address, dated 1950, dustwrapper clipped: The Marsh Arabs. SIGNED. Longmans, 1964. first edition, SIGNED and dated 2000 by the author, dustwrapper clipped: Desert, Marsh and Mountain: The World of a Nomad. Collins, 1979. first edition, dustwrapper unclipped: The Life of My Choice. Collins, 1987. first edition, dustwrapper unclipped: My Kenya Days. SIGNED. Harper Collins, 1994. first edition, SIGNED and dated 2000 by the author, dustwrapper unclipped: The Danakil Diary. Journeys Through Abyssinia, 1930-34. Harper Collins, 1996. first edition, dustwrapper unclipped: Among the Mountains, Travels in Asia. SIGNED. Harper Collins, 1998. SIGNED by the author, dustwrapper unclipped: A Vanished World. SIGNED. Harper Collins, 2001. first edition, SIGNED and dated 2001 by the author, dustwrapper unclipped : ASHER, Michael. Thesiger, a Biography. Viking, 1994. first edition, dustwrapper unclipped. Provenance: from the collection of a personal friend of Wilfred Thesiger, who knew the author towards the end of his life. (9) Condition Report: 1. Arabian Sands - SIGNED, publisher's cream cloth, clean and bright, gilt lettering to spine bright, spine a little bumped head/tail, dustwrapper clipped, with light foxing to flaps and heavier foxing to inside of dustwrapper, light foxing to edges and first few pages, o/w. clean internally, the loose note from the author's brother with a small square mark to the Chelsea address, o/w. clean and bright. 2. The Marsh Arabs - SIGNED, publisher's green cloth, clean and bright, corners a little scuffed, spine also a little bumped head/tail, bright gilt lettering to spine, dustwrapper worn with two tears to top of upper cover, one of which has been repaired with tape, a small mark to front endpaper, o/w. clean internally. 3. Desert, Marsh and Mountain - publisher's brown cloth clean and bright, gilt lettering to spine bright, dustwrapper unclipped, a clean copy. 4. The Life of My Choice - publisher's black cloth clean and bright, bright gilt lettering to spine, dustwrapper unclipped, a clean copy. 5. My Kenya Days - SIGNED, publisher's black cloth clean and bright, bright gilt lettering to spine, dustwrapper unclipped, a clean copy. 6. The Danakil Diary - publisher's plum cloth clean and bright, bright gilt lettering to spine, dustwrapper unclipped, a clean copy. 7. Among the Mountains, Travels in Asia - SIGNED, publisher's black cloth clean and bright, bright gilt lettering to spine, dustwrapper unclipped, a clean copy. 8. A Vanished World - SIGNED, publisher's grey cloth, clean and bright, bright silver lettering to spine, dustwrapper unclipped, a clean copy. 9. Thesiger A Biography - publisher's black cloth clean and bright, gilt lettering to spine bright, dustwrapper unclipped, a clean copy. Condition Report Disclaimer

Ɵ LARDEN, Walter. (1855 - 1910). Recollections of an Old Mountaineer, author's copy. INSCRIBED and ANNOTATED. London: Edward Arnold, 1910. single volume, first edition, 8vo., (230 x 160mm), publisher's maroon cloth, gilt lettering to front and spine, edges untrimmed, half-title, SIGNED and dated Sept. 1917 by the author, and further annotated with a 4 line list headed 'Private copies', and a 14 line list headed 'I have given copies to', half-title, photogravure frontispiece after a photograph by Alfred Holmes, 16 b/w. illustrations from photographs, the author's corrections, crossings out, and annotations written in red and black ink within some margins of the original printed text, Larden notes at the bottom of pp.153, 'When in 1910, I wrote this book, my former companions Corry and Brant, would hardly let me mention this accident, they did not want their families to hear about it . . . ' and to pp.157, referencing the accident on the Petit Dru, the author notes 'This was a far more dramatic accident even than that on the Combin spoken of on p.153, and well worth describing in detail. But again a veto was set up on my saying much about it'; 320pp., within removeable clear wrapper. The climbing memoirs of the British alpinist who references a very 'close shave', being a crevasse-accident on the Corbassier glacier, involving a young, over confident guide and Walter Larden's fellow climbers Robert Corry (1866-1941) and R.W. Brandt. (1852 -1934) (1) Condition Report: boards marked, corners scuffed, spine faded and a little bumped head/tail. Condition Report Disclaimer

Ɵ BONATTI, Walter (1930 - 2011). Four Works: first English editions, three volumes SIGNED. 1964-2001. comprises: On the Heights, SIGNED. Rupert Hart-Davis, 1964. 8vo., (225 x 150mm), publisher's black cloth, gilt lettering to spine, dustwrapper unclipped, half-title, SIGNED by the author to title page, b/w. photo. illustrations, translated from the Italian by Lovett F. Edwards, 248pp: The Great Days. SIGNED. London: Victor Gollancz Ltd., 1974. 8vo. (220 x 145mm), publisher's blue cloth, gilt lettering to spine, dustwrapper unclipped, luminous yellow e/ps., half-title, SIGNED by the author to title page, b/w. photo. illustrations, translated by Geoffrey Sutton, 189pp: The Mountains of My Life. SIGNED. The Modern Library, New York, 2001. paperback, 8vo., (230 x 130mm), SIGNED by Walter Bonatti and Robert Marshall to title page, 442pp: Magic of Mont Blanc. London: Victor Gollancz Ltd., 1985. folio., (350 x 255mm), publisher's grey cloth, white lettering to spine, dustwrapper unclipped, b/w. and colour photo. illustrations throughout, translated by Geoffrey Byrne-Sutton, 208pp. each volume within removeable clear wrapper. Walter Bonatti was an Italian mountaineer, explorer and journalist, who pioneered difficult and little known climbs in the Himalayas, Alps and Patagonia. He was one of three survivors of the disasters on the Central Pillar of Frêney in 1961. (4) Condition Report: 1. On the Heights - some toning to leaf edges, o/w. a clean copy. 2. The Great Days - boards marked, corners a little scuffed, spine bumped head/tail, a clean copy. 3. The Mountains of My Life - a clean copy. 4. Magic of Mont Blanc - (unsigned) dustwrapper with some crinkling, o/w. a clean copy. Condition Report Disclaimer

Ɵ REDOUTE, Pierre, Joseph. (1759 - 1840). and THORY, Claude Antoine. (1759 - 1827). Les Roses, peintes par P.J. Redoute, decrites et classees selon leur, ordre naturel. Paris: P. Dufart, St. Petersbourg: J. F. Hauër et Cie, 1835. three volumes, third edition, 8vo., (240 x 160mm), green morocco and marbled boards, French text, half-titles, 2 engraved portraits of Redoute and Thory, 184 fine stipple-engraved plates printed in colour and finished by hand, includes the colour frontispiece floral wreath, 23 new plates, portraits of Redoute and Thory, and a biographical note on Thory, none of which had appeared in either of the previous octavo editions, nor the first folio edition of 1790. The last and most comprehensive edition of one of the greatest of all flower books, published under the direction of L.J. Pirolle, the collector of roses and tulips who had supplied Redoute with many of the specimens. (3) Condition Report: boards clean, corners scuffed and spines bumped head/ tail, light foxing and marks to edges, further sporadic foxing internally to some pages affecting a few of the plates. Condition Report Disclaimer

Ɵ ROCHE, Andre. (1906 - 2002). Everest 1952. SIGNED by Tenzing Norgay and two other members of the 1952 Swiss Expedition Team. Editions Jeheber, 1952. single volume, 4to., (270 x 210mm), cream paper wrappers, navy blue text to front and spine, colour photo. illustrated dustwrapper, and further within removeable clear wrapper, SIGNED in green ink to half-title by three members of the 1952 Swiss Everest Expedition team, including Tenzing Norgay, Lambert Raymond and Flory Leon, a further inscription in blue ink, dated 1971 to title page, French text, b/w. and colour photo. illustrated, 110pp. within clear wrapper. An account of the 1952 Swiss expedition led by Edouard Wyss-Dunant. Raymond Lambert and Sherpa Tenzing Norgay who set a new climbing altitude record on the south-east ridge of approx. 8595m (28,199 ft.), this experience proving invaluable for Tenzing Norgay, later joining the British 1953 Everest expedition, during which he reached the summit with Sir Edmund Hillary. (1) Condition Report: clean cream covers, dustwrapper clean, with minor wear and chips to edges and spine, joint splitting slightly to half-title page, o/w. a clean copy.   Condition Report Disclaimer

Ɵ MUMMERY, A.F. (1855 - 1895). My Climbs in the Alps and the Caucasus. John Hartog's copy. London: T. Fisher Unwin, New York: Charles Scribner's Sons. 1895. first edition, 4to., (280 x 200mm), publisher's oatmeal cloth, brown gilt leather labels to spines, gilt top, others untrimmed, Westminster School printed label to front pastedown, half-title, publisher's advert., 11 plates, including frontispiece with tissue-guards, 21 in-text illustrations, a loosely inserted typed invitation to the Oxford Alpine Club Annual Dinner at Brasnose Hall, from J. Wilkes, Hon. Secretary, inscribed in blue ink, who writes, 'care to come as my guest, if you aren't already a member - I can't remember'. 360pp. Albert Mummery's enduring classic of mountaineering literature. John Marion Hartog (1922 - 1986), the youngest son of Sir Philip Hartog, was educated at Westminster school. Hartog was proposed by John Hunt, and elected to the Alpine Club in 1951. A member of the 1956 British Muztagh Tower Expedition John Hartog reached the summit via the Northwest Ridge on 6th July, five days before the French team: REY, Guido. (1861 - 1935). Peaks and Precipices. Scrambles in the Dolomites and Savoy. T. Fisher Unwin, 1914. first edition, 4to., (270 x 190mm), publisher's red gilt decorated cloth, gilt lettering to front and spine, fore-edge untrimmed, half-title, Johnson Brothers (Dyres) Ltd. presentation label to front pastedown, ' a token of appreciation From the Directors of the firm, to Miss Crabbe, Manager of the Middleton Branch of the firm, Dec.31st. 1908', 76 b/w. photo. illustrations, 238pp: DENT, Clinton Thomas. (1850 - 1912). Mountaineering. London: Longmans, Green & Co., The Badminton Library, 1892. Limited large paper edition, numbered 30 of 250 copies, 4to., (250 x 200mm), original gilt decorated half morocco, gilt lettering to spine, gilt top, others untrimmed, dark green e/ps., half-title, contributions by W.M. Conway, D.W. Freshfield, C.E. Matthews, C. Pilkington, Sir F. Pollock. H.G. Willink, an introduction by Justice Willis, illustrated by H.G. Willink and others, royal blue silk ribbon bookmarks present but detached, 481pp. each volume within removeable clear wrapper. (3)   Condition Report: 1. My Climbs in the Alps - boards marked and rubbed, spine bumped head/tail and labels scuffed, frontispiece present but detaching, foxing throughout, including to some of the plates. 2. Peaks and Precipices - some fading to boards and spine, spine bumped head/tail, foxing to foredge and intermittently throughout, including half-title, and title page, glassine wrapper torn at spine. 3. Mountaineering - boards marked, corners scuffed, spine bumped head/tail, foxing to first few pages including title page, some toning to leaf edges. Condition Report Disclaimer

Ɵ MANNING, Samuel. (1822 - 1881). 'Those Holy Fields'. Palestine, Illustrated by Pen and Pencil. Religious Tract Society, London, n.d. (circa 1874). single volume, first edition, 4to., (281 x 205mm), contemporary pebble-grain, bordered gilt red morocco, gilt dentelles, gilt doublures, spine with raised bands decorated in gilt, all edges gilt, manuscript ink gift inscription on first blank dated 1886, complete, plates and illustrations throughout. Samuel Manning was a Baptist minister who was the editor of the Baptist Magazine, as well as the book editor of the Religious Tract Society: BARTLETT, William Henry. (1809 - 1854). Walks About the City and Environs of Jerusalem. George Virtue, London, (c. 1845). single volume, second edition, 8vo., (262 x 179mm), original brown cloth, bordered and decorated in gilt, spine decorated and lettered in gilt, ink ownership inscription dated 1854 to front free e/p., complete, 27 plates (including frontispiece), most with tissue guards, text illustrated throughout, 2 folding maps, 4 leaf uncut publisher's booklist at end, this edition erroneously identified as a third edition on the cloth of original publisher's spine. (2)   Condition Report: 1. 'Those Holy Fields' - corners and spine fairly rubbed, covers a little scratched and darkened, some spotting to first and last few leaves. 2. Walks About the City and Environs of Jerusalem - corners worn and rubbed, cloth rubbed, wear and rubbing to head and tail of spine with an inch and a half of loss at head, upper and lower hinges cracked with some tears in the cloth, inner creases cracked but sound, extremities and spine faded, staining to bottom right corner of first few leaves, some foxing to plates and tissue guards. Condition Report Disclaimer

Ɵ EVANS, Charles. (1918 - 1995). Three Works: two first editions SIGNED by the author, and a related SIGNED volume. 1956. comprises: On Climbing. SIGNED. Museum Press Limited, London, 1956. first edition, 8vo., (237 x 165mm), publisher's blue cloth, silver lettering to spine, dustwrapper clipped, half-title, SIGNED by the author to title page, 32 plates, numerous in-text drawings, 6 maps, 191pp: Kangchenjunga The Untrodden Peak. SIGNED. London: Hodder & Stoughton, 1956. first edition, 8vo., (230 x 155mm), publisher's black, gilt cloth, gilt lettering to spine, dustwrapper unclipped, design by the author, half-title, SIGNED by Charles Evans (leader of the expedition) to title page, and further SIGNED to the dedication page by six members of the 1955 British Kangchenjunga Expedition, including Norman Hardie, George Band, John Jackson, Joe Brown Tony Streathers and John Clegg, 5 colour and 32 monochrome plates, 5 diagrams, 2 maps, 187pp: together with The Geographical Journal, Kangchenjunga Climbed, A Lecture delivered by Charles Evans and George Band. SIGNED. The Royal Geographical Society (with the Institute of British Geographers), March, 1956. Vol. CXXII, Part 1, black card wrappers, white titled label to front, SIGNED to the first page by George Band and further SIGNED to the last page by five members of the 1955 British Expedition including Norman Hardie, Tony Streather, John Jackson, Joe Brown, and John Clegg, b/w.photo. illustrated, 18pp: Sir Robert Charles Evans was a British mountaineer and surgeon. The 1955 British Kangchenjunga expedition succeeded in climbing the 8,586m Kangchenjunga, the third highest mountain in the world, for the first time. George Band and Joe Brown reached the summit on 25 May 1955, and were followed the next day by Norman Hardie and Tony Streather. The expedition was led by Charles Evans who had been deputy leader on the 1953 British Mount Everest expedition. (3)           Condition Report: 1, On Climbing - light marks to boards, top edge and spine faded, spine bumped head/tail, some marks mainly to verso of dustwrapper and a few edge nicks, toning to leaf edges, o/w. a clean copy. 2. Kangchenjunga The Untrodden Peak - minor marks to bright clean boards, spine a little bumped head/tail, dustwrapper torn at top r.h. corner and top of spine (with loss) with toning to inside flaps, foxing to e/ps., toning to pages, o/w. a clean copy. 3. The Geographical Journal, Kangchenjunga Climbed, A Lecture delivered by Charles Evans and George Band - some toning to pages, o/w. a clean copy.         Condition Report Disclaimer

Ɵ TYNDALL, John. (1820 - 1893). Faraday as a Discoverer. Presentation copy. London: Longmans, Green, and Co., 1868. single volume, first edition, 8vo., (210 x 140mm), original brown cloth, bordered in blind, gilt lettering to spine, bookplate of Emily Belper to front pastedown, the author's presentation ink inscription to half title, 'To the Lady Belper/ presented by John Tyndall / March 1868', portrait plates after photographs, 171pp. First edition of the recently deceased Michael Faraday by the prominent 19th-century Irish physicist, John Tyndall, who succeeded him as superintendent at the Royal Institution. Lady Amelia (Emily) Belper, wife of Edward Strutt, a longstanding M.P. for the Liberal Party, and later elected a Fellow of the Royal Society. Tyndall's initial scientific fame arose in the 1850s from his study of diamagnetism. Later he made discoveries in the realms of infrared radiation and the physical properties of air, proving the connection between atmospheric CO2 and what is now known as the greenhouse effect in 1859. (1) Condition Report: boards marked, corners scuffed, spine bumped head/tail, complete plates, some spotting to first and last few leaves,     Condition Report Disclaimer

Ɵ WHYMPER, Edward. (1840 -1911). A Letter Addressed to the Members of the Alpine Club. [Printed for Private Circulation by the author]. London, 1900. a 16pp. booklet, original green paper wrappers, lettered in black to front, 8vo., (220 x 153mm), engraved frontispiece after the author, depicting the 'disputed leap' made by the guide Christian Almer during the first ascent of the Western Arete of the Pointe des Ecrins in June 1864; Whymper's detailed letters and witness statements were sent to Club members in response to an accusation made against him by American mountaineer, William Coolidge. Whymper happened upon the accusation in a foot-note of an obituary notice for the late guide, Christian Almer. The article was signed by William Coolidge and published in the Jahrbuch of the Swiss Alpine Club for 1898-1899. Coolidge disputed the 7-8 feet jump did not take place, and was never made by Almer in 1864, (later described in Chapter ix. of Whymper's book, 'Scrambles amongst the Alps'). Coolidge queries 'I find it remarkable that the very detailed report of Mr. Moore on that same expedition did not mention anything about such a jump'. ('The Alps in 1864'). An extraordinary meeting of the Club was held, Rev. William Coolidge removed his name from the list of members, and the Editor of the Jahrbuch, Dr. H. Dubi, admitted his duty should have led him to check if the footnote or any part of it had contained an affront against Mr. Whymper: within removeable clear plastic wrapper: ASCENT OF THE AIGUILLE VERTE [near Mont Blanc]. n.d., (c. 1866). modern green card wrappers. lettered in black to front, chromolithographed plate of the summit, wood-engraved plate, in-text route map, pp. 520-524, Edward Whymper's article originally published in the Leisure Hour, a Victorian monthly, pre-dating the author's work 'The Ascent of the Matterhorn'; Edward Whymper, Christian Almer and Franz Biner first climbed the Aiguille verte on 29 June, 1865, a fortnight before the fateful first ascent of the Matterhorn. Whymper was unable to climb with his usual guide, Michel Croz, who had to wait for a client in Chamonix. As a result, Whymper hired the services of Christian Almer, who had been with Alfred Wills on the Wetterhorn in 1854. (2)   Condition Report: 1. A Letter to the Alpine Club - toning to cover edges and spine, edges marked, joints weak and pages loosening (but all attached), a clean copy. 2. Ascent of the Aiguille Verte - some fading and minor marks to green card wrappers, the colour plate of the summit with marks to the margins and edge nicks to r.h. margin, a clean copy. Condition Report Disclaimer

George V Sea Gallantry Meal Awarded for Rescue Mission of the Liner Delhi Which Sunk December 1911, medal in bronze, the edge engraved “ERNEST DAVEY ‘DELHI’ 13 DEC. 1911”. Complete with ribbon, some wear to the edge. The 8,090 ton liner Delhi was travelling with 85 1st class passengers including the Duke and Duchess of Fife (The Princess Royal) along with their 2 daughters Princesses Alexandra and Maud was bound from London to Bombay via Marseilles. At about 2am on the 13th December the ship ran ashore in very rough weather approximately 2 miles from Cape Spartel. There was a strong westerly wind and very heavy rain. A wireless call went out and within a short time a number of men-of -war were speeding to the wreck. The first to arrive was the French cruiser Friant who immediately sent her boats away to effect as rescue. Unfortunately, her steam launch was swamped and capsized drowning 3 seaman. The next ships to arrive were the British battleship London and the cruiser Duke of Edinburgh. At about 11 am Rear-Admiral Sir C Cradock brough a boat from the Duke of Edinburgh alongside and with great difficulty took off the Royal Party from the Delhi. On her way back the boat was swamped not far from shaw and everyone was thrown into the water, Princess Alexandra having a narrow escape from drowning. Eventually all came to land safely and had to walk 4 miles to the lighthouse at Cape Spartel. The operation to rescue all survivors on the Delhi lasted 5 days in total. 214757 AB Ernest Davey was serving on HMS London at the time of this rescue his medal being awarded for being ‘Particularly conspicuous in the work on shore. For 5 days …working waste deep in water and displaying untiring energy’. Born on 10 Sept 1884 Davey commenced his service in the Royal Navy on 1 Nov 1904 being discharged on 13 Feb 1918. Also entitled to 1914-15 trio and Silver War Badge.

The Rare Great War Group of Medals Awarded to Vera, Countess of Rosslyn, Who Served in the Duchess of Sutherlands Ambulance in 1914, consisting 1914 Star “COUNTESS OF ROSSLYN”, British War and Victory Medals “COUNTESS OF ROSSLYN” and the Belgian Medaille De La Reine Elisabeth, unnamed as issued. The group mounted as worn on old ribbons. Vera Mary Bayley, known as ‘Tommy’ to her friends was born on 24th February 1887 and became the third wife of James Francis Harry St.Clair Erskine, the 5th Earl of Rosslyn in October 1908. When war broke out August 1914, she immediately volunteered her services and was enlisted by her sister-in-law, the Countess of Sutherland, to help with her Private Ambulance over in Belgium. Arriving in that theatre of war in October 1914 she joined the Ambulance at Dunkirk just in time to help deal with the casualties flooding into the town from the fighting at Yser. At this time, all the hospitals in the area were filled to overflowing and the Duchess of Sutherland was asked to form an auxiliary hospital which she did at Malo les Bains. The hospital with its 100 beds, it’s official name No.9 Red Cross Hospital, continued to be known as the Millicent Sutherland Ambulance. In February 1915 the Countess of Rosslyn returned home and in March 1916 she enrolled as a V.A.D. under the Joint Committee of the British Red Cross and Order of St John as a member of Berkshire 52 Detachment. Returning to France in the same month she served in the Millicent Sutherland Ambulance, which by now had relocated to Calais, through until April 1917 when she returned to the UK. On her return home she continued with part time nursing duties serving at the Struan House Auxiliary Hospital at Reading. She terminated her V.A.D. service in May 1918. The award of the Belgian Medaille De La Reine Elisabeth is confirmed in The Times newspaper 29th June 1918, in recognition of the kind help and valuable assistance personally given to Belgian refugees and soldiers. Post war her life was no less challenging as her marriage was coming to an end due to the 5th Earls continued addiction to gambling and women. During the 1920’s she started what was to become a long-lasting affair with Bruce Lockhart, the famous diplomat and spy. With the renewal of hostilities in September 1939 the Countess once again enrolled into the VAD enlisting as a Transport Driver in No.146 (Paddington District) Detachment. She was also active in raising the Friends Ambulance Unit that was embarked with the backing of the Red Cross for service in Finland during the conflict with the Soviet Union in the winter of 1939-40. By 1942 she was in charge of the Red Cross unit packing food parcels for prisoners of war, one of whom was her eldest son, James St.Clair Erskine. For her war work she was awarded a British Empire Medal (Civil Division) in the New Year’s honours 1st January 1946 ‘Vera Mary, Countess of ROSSLYN, Head Packer, Prisoners of War Food Packing Centre, Joint War Organisation of the British Red Cross Society and Order of St John.’ (B.E.M. not present). The Countess of Rosslyn died on her 88th birthday on 24th February 1975 and is buried in the famous Rosslyn chapel.

An Unusual Great War Balkans Nurses Medal Group of Three to Miss Edith Pierce Toms Who Served with the French Red Cross, consisting of British War medal, Victory medal “E.P. TOMS” with a Serbian Red Cross Medal 1912 in silver and enamel. Mounted as worn. Edith Pierce Toms medal index card indicates service as a Nurse with the French Red Cross entering the Balkan theatre of war in April 1915 (B.W.M. & V.M. only). The 7th November 1914 edition of The British Journal of Nursing has Miss Edith Pierce Toms working with the Society of Friends under the auspices of the ‘Association des Infirmières Visiteuses de France’. The edition of the Journal on 1st May 1915 reports that she is travelling to start work at Kragujevac, Serbia.

An Interesting Medal Group of Five Awarded to a Resident of Jersey Who Served as a VAD Nurse During the Great War and Served in India During the Second World War, group consists Kaisar-I-Hind medal GVI in bronze in case of issue, Serving Sister of St John 2nd Type on ribbon bow, reverse engraved OLGA A SACHS, JAN 2ND 1940, QUETTA, British Red Cross Society Medal For War Service, unnamed as issued, Defence medal and War medal 1939-45. Lot includes a St. Johns pinback cap badge, and identity bracelet O A SACHS 225155 C OF E and an enamel British Red Cross Society, Jersey, Channel Islands badge engraved to the reverse OLGA LE CHASSEUR. Also includes several photographs. Olga Alice LeChasseur was born in 1892 in St. Helier on the island of Jersey. During the Great war she served in the VAD commencing her service on 13/1/1916 and was still serving in June 1919 at Chiseldon Camp Military Hospital, Swindon. Her record card indicates she was mentioned in despatches 17/4/1919 but this has not been located in the London Gazette. Post war she continued her Nursing training at Kings College Hospital London becoming a Registered Nurse in June 1923 and being gazetted as a Staff Nurse in Queen Alexandra’s Imperial Military Nursing Service on 7th November 1924. On the 8th December she married the Physician Albert Sachs (CB (1955), CBE (1952) BA Dubl (1926) MB ChB BAO (1926) MSc (1935) MRCP (1953) FRCP (1964) FRCPath (1964)) in Jubbulpore, India. Gazetted as a Serving Sister of the Order of St John on 2nd January 1940 and in the LG of 4th June 1943 she is listed as a Sister in Queen Alexandra’s Imperial Military Nursing Service. In 1948 she was awarded the Kaisar-I-Hind for services to the W.V.S. in India. Olga Sachs died on 23rd December 1979 in Crawley, West Sussex.

The Field Officers Gold Medal for Corunna 1809 Awarded to Major William Williams 81st Regiment of Foot, Wounded Multiple Times During the Peninsular War and Served with the 13th Regiment of Foot in North America During the War of 1812, medal named in the correct style “MAJOR WILLIAM WILLIAMS 1ST BN 81ST “. Period repair to the suspension, complete with the original lunettes and ribbon with gold ribbon buckle. Remains in good condition. Sir William Williams K.C.B., K.T.S. 1776 – 1832. He purchased his ensigncy in the 54th Regiment in 1792, during the 2 years following he served in the Low countries under the Duke of York. Promoted to Lieutenant in Sept 1793 he proceeded to the West indies where he was wounded during the action at St. Vincent. In 1796 he was a Captain and returned to the British Isles to help suppress the rebellion in Ireland. He then went to Egypt under Sir Ralph Abercromby and was said to have been the first soldier to land in Egypt and was involved in every action. In 1802 he was Brevet Major being given a substantive rank in the 81st 2 years later. Wounded for the second time at Corunna, he then participated in the expedition to Walcheren and in November 1809 he was posted to 5/60th as Lieut.-Colonel. Wounded twice at Bussaco, once a Fuentes D’Onor and after being wounded for the 6th time at Salamanca he transferred to 13th Regiment stationed in North America being involved in the fighting at Lake Champlain and Plattsburg. At St.Johns, New Brunswick he was in command of the advanced posts on the Richelieu river when the attack by the American General Wilkinson was repulsed. In 1815 he became a K.C.B. and became a Major General in 1830 dying at home in Bath 2 years later. For his service at Corunna, Fuentes D’Onor, Cuidad Rodrigo, Badajoz and Salamanca he was awarded the Army Gold Cross with 1 clasp. In 1813 he received the Portuguese Order of the Tower and Sword. Major William Williams arrived in Spain with 2/81st as part of Sir David Baird Contingent when they landed at Corunna between the 13th and 26th October 1808. Baird’s troops joined with Moore’s main force on 20th December. Lieutenant General Sir John Moores victory at Sahagun on 21st December 1808 had confirmed the position of the British army in Spain and caused Napoleon to redirect the majority of his forces away from recently captured Madrid to pursue the British in an attempt to block their access to the coast (and the possibility of escape). Realising he was severely outnumbered, with Napoleon having some 250,000 troops at his disposal and his having beaten the Spanish army, Sir John Moore realised that his only option was to ‘run for it’ back to the coast to escape by sea. Thus, on 25th December the British army began its retreat over 250 miles of inhospitable mountainous terrain through snow and ice continually being harried by the advancing French troops. It is estimated that the British Army lost some 5000 men during the retreat. The main body of the British army arrived at Corunna on the 11th of January 1809 to find that only 26 of the 270 transport ships had arrived with the rest being delayed at Vigo due to contrary winds. Moor took the opportunity to re-equip his army with the 5000 muskets and ammunition taken from the stores at Corunna, the remaining munitions of almost 12,000 barrels of powder and 300,000 musket cartridges in 2 magazines were destroyed in massive explosions on 14th January to prevent then being captured by the French. On the same day the ships arrived in the harbour and Moore began to embark the troops starting with artillery and cavalry. To cover the embarkation Moore had selected a defensive position on a ridge of high ground approximately 2 miles south of Corunna. On 15th January Marshal Soult manoeuvred his forces onto the higher ridges opposite. Moore deployed his army to face the French with Hopes Division on the left and Baird on the right. Soult planned to make his main thrust with Mermet’s division around the village of Elvina intending to turn Moores flank and roll up his line whilst the rest of the British line would be kept occupied by Merle and Delaborde’s Divisions. On the afternoon of the 16th January Moore, convinced there would be no action that day had just started to withdraw some of his troops so that they could embark when the French launched their attack. As the French batteries fired, two of Mermet’s brigades advanced toward the village of Elvina pushing back the picquets of the 4th and 50th Foot. The French 31me Léger approached the village in 2 columns whilst the 47me Line went to outflank the village on the left. Moore rode to the right flank and instructed the 4th to throw back their right wing to protect against the encircling movement, meanwhile Baird had ordered the 42nd forward to counterattack. The 50th then advanced against the 31me Léger’s left column the fighting that followed was confused with the Battalion becoming broken up into small groups and the 50th was ordered to withdraw leaving the village in French hands. Baird’s Divisional reserves, the 1st Foot Guards, were called up and the 42nd believing they were being relieved started to withdraw until Moore intervened to prevent this. Soon after Moore fell from his horse with a mortal wound having been struck on the shoulder by a round shot. The fighting in Elvina continued until dusk, Mermet fed in his reserves, the reinforced British still could not fully eject the French from the village. Merle tried to support the French in the village by advancing his left wing toward the village, but this was countered by Manningham who advance the 1st and 81st down the slope to attack the flank of the 4me Léger. The French turned to meet the attack and a desperate fight lasting 2 hours followed with Merle supporting his men with the 2me Léger. The 81st suffered considerable casualties and had run out of ammunition, they were then replaced by the 59th. After a further advance by Merle on the right flank the French withdrew. As darkness fell at 6.00pm the fighting ceased across the whole battlefield without either side having made any territorial advantage. During the fighting the 81st suffered 30 dead and 133 wounded of which Major William Williams was one. Later that evening the British army began to withdraw from its positions leaving campfires and picquets to conceal their departure. The embarkation continued through the night and it wasn’t until 8am the following day that the French realised the British had retired and so advanced on the town. The last rear-guard left the town on January 18th with the Spanish garrison waiting until the fleet was at sea before surrendering. The fleet embarked some 26,000 men over the 5 days.

Great War 1914-15 Star Trio and Silver War Badge Medal Group to a Chief Petty Officer in the Royal Navy, 1914-15 star, British War medal, Victory medal all named “145892 A. HAYES C.P.O. R.N”., with Silver War badge RN35869. This lot comes with a commercial book of photo postcards showing the aftermath of the Zeebrugge raid, an enamel buttonhole badge ‘Zeebrugge 1918’, metal identity tag and an interesting autograph book containing signed drawings, photos, poems and dedications. Most of the content appears to be from the Great War but there are some later additions. Noted amongst the contributors to the book is the poem by A.E. McKenzie A.B. H.M.S. Neptune who was awarded a Victoria Cross by ballot for the Zeebrugge raid. Born in Islington on 27th June 1872, Arthur Hayes started his Naval career as a Boy 2nd class on Impregnable in June 1888 and served through to June 1912 when he was discharged to pension. Re-joining for the war in August 1914 he was eventually invalided out in July 1919. SWB number confirmed as correct to Hayes.

Great War Medal Group of Four to a Member of the Royal Naval Air Service Who Served in Armoured Cars on the Western Front, Later Transferring to Otranto in Italy, the group consists of 1914-15 star “F1200 W.J. HARRIS A.M.1 R.N.A.S.”, British War and Victory medals “201200 1 A.M. W.J. HARRIS R.A.F”. and a Defence Medal (unnamed as issued). Group is accompanied by the recipients original Certificate of Employment During The War, a 1936 annual reunion program for No6 Wing RNAS and 66 & 67 Wings RAF and an extensive photographic archive of his service with armoured cars (No.8 Sqdn Armoured Cars noted). William John Harris was born in Honiton Devon in June 1894. He was rated as Petty Officer Mechanic upon his enlistment in the RNAS on 6th November 1914 and this was most likely due to his pre-war occupation being that of Chauffeur. Transferring from Pembroke to President II in April 1915 he commenced his service with armoured cars which ended in March 1917 when he transferred to Otranto in Italy eventually serving with 66 and 67 Wings R.A.F. His time in Ialy continued through until May 1919 and he was eventually discharged to the Royal Air Force Reserve on 20th June 1919.

WW1 Submarine E.37 Casualty Victory Medal, awarded to “K3353 GE WOODGER ACT SPO RN”, who was killed on HM Submarine E.37 when she was lost with all hands in the North Sea on 3rd December 1916. Born in East Malling, Kent on the 1st December 1887, George Edward Woodger was 1 of 12 children to Alfred and Dorcas Woodger he entered the Royal Navy in April 1907 with the service number SS104960 and was renumbered as K3353 in June 1909. The reason for the loss of E37 is unknown but it is possible that she struck a mine whilst on patrol in the North Sea. Also entitled to a 1914-15 star and British War Medal all of which were issued to his daughter. He is commemorated on the Chatham Naval Memorial.

Post 1943 Italian Co-Belligerent Airforce (Airforce of the South) Pilots Wing, brass crowned eagle in flight with brooch pin fitting to the reverse. This badge was worn by Italian pilots who were serving with the Co-Belligerent Airforce (Aviazione Cobelligerante Italiana). This force was formed in Southern Italy in October 1943 after the Italian Armistice. The ACI had defected from the Axis forces and flew with the Allies against the Italian RSI and German forces

Great War & WW2 Naval Long Service Medal Group of Five HMS Cumberland, consists of British War medal “J69527 G. E. SLAUGHTER O.TEL R.N.”, Atlantic star, Defence medal, War medal 1939-45 (the 3 unnamed as issued), Royal Navy Long Service and Good Conduct Medal (GV, coinage head) “J69527 G. E. SLAUGHTER H.M.S. CUMBERLAND”. Also with Admiralty named condolence slip EDWARD GEORGE SLAUGHTER, confirming the issue of 3 medals. Also entitled to a Victory medal records indicate his medals were originally returned to the mint with duplicates being issued in December 1940. George Edward Slaughter was born in Enfield, London on 14 April 1900. He entered the Royal Navy as a Boy II in April 1917 and having been awarded his long service medal in July 1933 he continued to serve into the Second World war receiving his pension in April 1940. Eventually invalided out of the service in in February 1943 he died in October 1946 before his WW2 medals could be issued. Group in sold with a newspaper cutting and correspondence with Commonwealth War Graves Commission regarding the death and commemoration of Flying Officer Donald Jack Slaughter who was killed in action with 410 (R.C.A.F.) Squadron on 18/7/43 and is buried in the Dieppe Canadian War Cemetery, Hautot-sur-Mer, France.