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JOHN G BOYD R.P. R.G.I (1940-2001) STILL LIFE WITH CROUCHING NUDE Signed oil on board 61cm x 61cm (24in x 24in) Note:John Boyd was born in Stonehaven in 1940 and attended Mackie Academy where he was lucky enough to receive encouragement from James Morrison. He studied at the Gray's School of art in Aberdeen from 1958-1962 under Henderson Blyth before moving to Glasgow where he lived for the rest of his life. He became an art teacher principally at Shawlands Academy and only in the last decade did he devote himself entirely to his work as an artist. As Patrick Bourne states in a recent appreciation;-' Boyd began a long series of oil paintings drawing strongly from his childhood experiences....these paintings are ruminative and evocative compositions of fishermen alone or in groups standing quietly. Often they cradle model-sized boats inspired according to the artist by the early Italian paintings of prelates holding models of their churches.' Boyd was a popular artist who exhibited widely in Edinburgh Glasgow London and Johannesburg. He is represented in public collections in Scotland and private colections in U.K U.S.A Canada Hong Kong Malaysia Lebanon and Portugal.

DAVID MACH (B.1956) IT TAKES TWO Silver and steel construction 2/12 12.5cm x 19cm x 16cm (5in x 7.5in x 6.3in) The present work is based on one of David Mach's most celebrated outdoor sculptures similarly entitled iIt Takes Two.i It is the second in an edition of twelve castes by Pangolin Editions Art Foundry. The original iIt Takes Twoi has been exhibited internationally in London Warsaw and Sydney and has recently been sold to a private European collector who will exhibited it outside FIAC 06 in Paris this October. David Mach's work is represented in numerous National and International collections including: Tate Britain Tate Liverpool; The National Portrait Gallery; The British Council; Manchester City Art Gallery; Wolverhampton Art Gallery; Museum of Contemporary Art San Diego; Kawasaki City Museum Tokyo; Museum of Art Auckland and Union des Banques Suisse Geneva.

A Crysede silk dress printed with an unrecorded pattern of castles and monuments in lemon, green and brown on an ivory ground, the drop waisted dress, with a `V' neck, scalloped short sleeves and scalloped hem and with shirring at the drop waist, the sides and the front. NOTE: This dress was made in the the late 1920s early 1930s by Mabel Johns who worked at Crysede, Newlyn and the Crysede works at St. Ives.

*Devon - Parlby Family. A nineteenth-century family photo album, comprising family pictures, views and army and shipping scenes, including thirteen images relating to automa-manoeuvres [on Salisbury Plain] in August 1873, two good large images of the Barbican and the Abbey Vaults in Plymouth by M. J. Cox, Reading Group scenes for Emily Parlby and William Hole of Parke, Bovey Tracey, three shipping photos and one showing the crew of HMS Narcissus, four further military photos, UK and overseas topography, one to five images pasted onto front and backs of thirty-three album leaves, some captioned in ink or pencil, a few other photos loosely inserted at rear, contemp. diced morocco, rubbed and joints cracked, folio, together with a portfolio of unrelated later photos and an album of window-mounted b&w family snapshots William Robert Hole (1831-1903) was a Justice of the Peace. He married Emily Laetitia Parlby in Manaton, Devon, in April 1875. They had one son, William Gerald Hole, born in 1881, who also lived in Parke, Bovey Tracey, Devon. (3)

Wood (Anthony). Athenae Oxonienses, An Exact History of all the Writers and Bishops, Who have had their Education in the most Antient and Famous University of Oxford..., 2 vols., 1721, titles printed in red & black, vol. 1 bound in 19th c. half sheep with vellum corners (over contemp. calf binding), boards detached and some wear, vol. 2 bound in contemp. calf, joints cracked & worn, folio (2)

*Baumer (Lewis, 1870-1963). Original pen & ink drawing of a well-dressed couple meeting a church warden, signed, approx. 300 x 250 mm A caption underneath in pencil reads 'Visitor to country town (who has just been shown over the church) "and how long has your present vicar been here?". Sexton: "Mr. Mole, sir, has been the incumbrance here, sir, for nigh on forty years, sir." (1)

[Zenger, John Peter]. The Trial of John Peter Zenger, of New-York, Printer: Who was Charged with having Printed and Published a Libel Against the Government; and Acquired. With a Narrative of His Case. To which is now added, being never Printed Before, the Trial of Mr. William Owen, Bookseller, Near Temple-Bar, who was also Charged with the Publication of a Libel aginst the Government; of which he was Honourably Acqutted by a Jury of Free-born Englishmen, Citizens of London, printed for J. Almon, 1765, some spotting, bound with [Townshend, Charles], A Defence of the Minority in the House of Common on the Question Relating to General Warrants, 2nd ed., J. Almon, 1764,some spotting, pages detached, bound withAlmon (John, pub.), A Letter Concerning Libels, Warrants, the Seizure of Papers..., 6th ed., 1766, bound with Somers (John), The Security of Englishmen's Lives: or, The Trust, Power and Duty of Grand Juries of England..., 1766, contemp. qtr. calf, upper board detached, 8vo, together with Watts (Richard, pub.), The Union: or Select Scots and English Poems, Dublin, 1761, contemp. calf gilt, lacks title label, 12mo, with Michaelis (Christian Friedrich), Dissertatio Inauguralis de Angina Polyposa sive Membranacea..., Argentorati, 1778, occ. minor spotting, contemp. half sheep, 8vo (3)

The Second World War awards to Flight Lieutenant Robert L Wood, RAFVR, who died on the 11th May 1944, aged 20 and who served with 609 squadron, comprising; The 1939-45 Star, the Air Crew Europe Star, the Africa Star and the 1939-45 War Medal, with ribbons, Air Council forwarding slip and box of postage, three sporting and other medallions, including a gold medallion, three badges and pendants. A collection of related paperwork, including; the 1939-45 Memorial Scroll, with the original envelope, a green album of photographs, two hand written letters relating to his death and to the anniversary of his death, a related Certificate of Baptism, dated 1871, a quantity of photographs, a navigation training book and a four figure tables book. Part lot illustrated

An unusual late 19th Century American painted cast iron money box modelled in the form of a seated figure of an Irishman with a pig between his legs, the mechanism with the front leg of a pig knocking the coin into the open mouth of the Irishman, who puts out his tongue and rolls his eyes at the same time, 8.25ins high (paint rubbed at highlights and scratched and flaking) Illustrated

A fine Regency mahogany and ebonised breakfront side table, with a plum-pudding top and ebonised moulded edge, fitted with two flush frieze drawers with ebony borders to recessed panels, the protruding ends supported on carved leopard monopodia forelegs terminating in ebonised claw feet, the rear scroll legs applied with gesso paterae to the upper part and terminating on ball feet. 56¼" wide. Provenance: Former property of General Sir Terence Sydney Airey KCMG, Allied Commander and Governor of Trieste 1947-1951, Commander British Forces in Hong Kong 1952-1954. Bought by the vendor from T C S Brooke BADA Dealer of Wroxham who acquired the table in 1984 and provided these historical notes to our vendor client.

Very interesting conductor's ivory baton of tapering form with gilt mounts inscribed Bands Master T Rimmer, 7th May 1907 in a fitted leather bound case with presentation plaque from sergeants of the King's Liverpool Regiment dated 7th May 1907, together with a photocopy of an article written about Thomas Rimmer who was musical director of the XIII Lancashire Royal Volunteers

* The Doors Debut Fillmore Concert invitation 'Introducing The Doors', 1967 At a glance this appears to be a copy of The Doors Elektra LP but once opened it reveals itself to be an invitation - comprising a textured poster on the right hand side announcing Elecktra Records introduces... The Doors... Will open at 8.30 For All Who Present Invitations. Affixed to the left hand side is a white label promo copy of the single Break on Through (to the other side) together with a handwritten note on black marker pen from an Elektra promo man. Incredibly rare. £500-600US$900.00-1,080.00

The Who - Four black and white images by Graham Spencer, sold with full copyright Four original black and white negatives featuring The Who posing before going on Top of the Pops in 1966 together with contact sheet. Sold with copyright. Negatives measure 2.5 x 2.5 inch. £200-250US$360.00-450.00

Keith Moon - the red t-shirt worn in Glasgow on the 'Who Put The Boot In' tour, 1976 A red, sleeveless t-shirt worn by Keith Moon on Saturday 5th June at Celtic Football Club's stadium, one of the three Who Put The Boot In Tour concerts. The shirt has a worn and ripped manufacturer's label to the neck and is accompanied by a letter of authenticity from Tony Haslam a lighting engineer who worked for the Who between 1968 and 1982. £1,000-1,500US$1,800.00-2,700.00

Keith Moon - the yellow t-shirt worn in Swansea on the 'Who Put The Boot In' tour, 1976 A yellow, sleeveless t-shirt worn by Keith Moon on Saturday 12th June at Swansea City Football Club's stadium, one of the Who Put The Boot In Tour concerts. The shirt has the manufacturer's label to the neck reading Spamjan 36 Ms and is accompanied by a letter from Roger Oakley a former employee of the Who, who obtained the shirt when it was thrown at him by Moon after the concert finished. The shirt is framed and mounted with the said letter and a photograph of Moon wearing this shirt whilst performing on stage. Mounted, framed and glazed. Overall measurements approx. 38 x 35 inch (97 x 89 cm) £1,000-1,500US$1,800.00-2,700.00

Pete Townshend - Jacket worn at two gigs in the early 1970's A full length white double-breasted jacket, with 'naval' insignia to the left hand sleeve, and eight 'Eagle' crested buttons to the front. The jacket has a hand stitched label inside reading Specially Made For Mr. J.H. Munroe Order No 4488, being the store where from Townshend bought the garment and A36 is handwritten at the neck. The jacket is accompanied by a typed letter from Tony Haslam a former lighting engineer who worked with the Who between 1968 and 1982 of the Who's explaining that he recalls Townshend wearing the jacket in the early to middle 1970's, and that it was recovered from a dressing room where it had been abandoned dripping in sweat. £1,500-2,000US$2,700.00-3,600.00

The Who 'Tommy' A&M presentation sales award, 1976 A UK sales award Presented to A & M Records Ltd. to recognise sales in excess of 75,000 copies in the United Kingdom of the ODE Long Playing Album 'Tommy', 1976. Mounted framed and glazed. Measures approx. 16 x 20 inch. (41 x 51 cm) £300-400US$540.00-720.00

Pete Townshend - a Gibson SG Special broken guitar body, 1969 A broken rosewood body from a Gibson SG Special guitar smashed by Pete Townshend, when playing on the North American leg of the Who's 1969 tour. The body has the holes where the original Vibrola would have been removed prior to being used, a standard modification by Townshend. The full black wraparound pickguard with white binding is still held in place by just two of its original screws, (these full pickguards usually appear on 1966–1970 models). The corner of the body, where the knobs and switches usually are, has broken completely off, along the line of the backplate to the electrics. No electrical parts are present except a single wire poking out from the hole where the lower pickup would have been. One cutaway point at the top of the body has also completely snapped off. The guitar piece is accompanied by a letter from Tony Haslam, a former lighting engineer for the Who. He explains how the S.G. Special broken guitar body was owned, played and smashed by Pete Townshend of The Who on the North American tour in 1969. This guitar body was retrieved and kept by myself after one of the gigs from this tour. The earliest appearance of Townshend's use of the Gibson SG Special (other than one he borrowed in 1966 from a support group the Tages) is July 1968, likely purchased at Manny’s Music, New York. Throughout his use of this guitar from 1968–1971, he usually used 1966–1970 models, which feature the full black wraparound pickguard. He did, however, occasionally use pre-1966 models, which feature the small pickguard, especially in 1971 as the available supply began to dry up. Pete stopped using these guitars in 1971 when Gibson had changed the production specification and the existing supply dried up.£8,000-10,000US$14,400.00-18,000.00

George Harrison signed Hong Kong Dollar, signed during the making of 'Shanghai Surprise', 1985 A $10 note signed in blue ballpoint pen George Harrison. The lot is accompanied by a charming letter from the vendor who was stationed in Hong Kong at the time and managed to land a job as an extra on the film Shanghai Surprise' starring Madonna and Sean Penn and produced by George Harrison's company 'Handmade Films'. George was on set trying to sort put problems Madonna and Penn had been having with the press. The vendor was sitting with some friends, one a Scouser who called out to George - he responded and started chatting to them. Before George left the vendor asked him for his autograph - much to the chagrin of his minder - but George was happy to oblige. Being in costume the only thing he had for George to sign was this banknote which he took out of his wallet. When George had stopped laughing he said 'I've signed some things in my time but never a banknote!'.£500-600US$900.00-1,080.00

Paul McCartney's personal copy white label recording of 'Let It Be', 1970 A white label 7 inch. recording, the label annotated in black marker pen Let It Be Final Cut and dated 11/1/70, the other side similarly annotated You Know My Name, in original Apple sleeve. The lot is accompanied by a wonderful letter from one of only four Personal Assistants who worked at Apple at the time of the recording, Bill Oakes. Bill was involved in several seminal moments of Beatles history - he typed John's infamous letter to the Queen returning his MBE and the questionnaire that led to the newsflash 'Paul Quits The Beatles'. The letter recounts that after a 'marathon mixing session' copies of the 'acetate' [this is not an acetate however] were distributed to each Beatle - in this instance Paul was heading to his farm in Scotland with Linda so asked Bill to hang on to his copy. Although the song was not released in this version it is the basis of what Paul wanted the recordings to be - simple piano, vocal, guitar, bass and drums. The introduction of Phil Spector to the mix, the resulting album, Paul's reaction and the resulting fall out is well documented.£1,000-1,200US$1,800.00-2,160.00

The first guitar that Paul McCartney was taught to play on, a REX acoustic circa 1950's The actual guitar that Paul McCartney was first taught chords on. This highly significant guitar was owned from new by Ian James, McCartney's good friend from the Liverpool Institute grammar school, where they met in the second year. Ian, an avid guitar player from a very musical family, taught Paul, on many occasions, his first set of chords and how to run the first riffs in the latter part of the 1950's, when Rock and Roll first hit the shores of Liverpool. Mr James recalls that This is how Paul and I formed a friendship - through music. More so with the arrival of Rock 'n' Roll when we would visit all the travelling fairgrounds around Liverpool to listen to all the latest records being played, he recalls further Paul would come to my house after school and sometimes I would go to Forthlin Road. We would sometimes have a session, with his brother Mike on his set of drums, Paul on piano and me on the guitar. Ian hung out with Paul long before the Quarrymen were even an idea, and recalls he was present, with this guitar on the historical day that McCartney first met Lennon at the Woolton Church fete, he explains I had it on the evening of the Woolton Fete when Paul met John earlier that day and he phoned me to suggest I go to the church that night as they (the 'Quarrymen') were planning to play there. I arrived there and was introduced to John (Lennon). We all practised for a while deciding who should sing what. It was an easy decision. Whoever knew the words would sing the song. But to no avail, the vicar walked in and said the gig was off. I can't remember why. The others decided to go to a local coffee bar and play a few numbers, I think the owner was a relative or friend of John's. But by this time I'd had enough of show-business and decided to go home. Interestingly Mr James also elaborates on the significance of this guitar It's possible John may have handled the guitar that night and it's also more than possible that George (Harrison) may have played it as I went to his house on a couple of occasions to teach him a few chords. He had more of an interest in playing melodies but felt he needed to know some chords. Ian went on to form his own group, The Mateys, in which he continued to use this guitar. The guitar is a Rex acoustic, of foreign manufacture, serial no. 459 7124, in sunburst finish, laminated wood body with single round cutaway, laminate top with f-holes, twenty fret fingerboard with dot inlays; wooden bridge, metal tailpiece; and a beige soft guitar cover. The guitar is accompanied by a signed letter from Paul McCartney dated 24 March 2006 on his personal headed paper which reads The above guitar belonging to my old school pal Ian James was the first guitar I ever held. It was also the guitar on which I learnt my first chords in his house at 43 Elswick Street Liverpool 8; a black and white photograph of Ian James with this guitar, taken by Paul McCartney at James’ house in Liverpool in 1957 and a colour photograph taken at McCartney’s MPL offices in London by Ian James on 24 March 2006 of Paul McCartney with this guitar and the aforementioned photograph of Ian James. It is well documented in the annals of Beatles history that Ian James was a good school friend of the young McCartney, and that he can be held responsible for being one of the select persons who turned McCartney on to the wonders of music and most notably 'Rock n Roll'. He is mentioned in the Beatles official biography by Hunter Davies, and in fact McCartney himself was quoted in press releases for his 1999 album 'Run Devil Run', when discussing the cover of 'All Shook Up', that featured on the album. "I have the loveliest memory of All Shook Up. We were mad Elvis fans before he went into the Army. We thought the Army made him a little too grown up, but he was fantastic. Anyway, back in Liverpool me and my best mate, Ian James, who I still know, we used t

*Autographs. Eight black & white photographs of tennis stars, all signed and inscribed, c. 1920s & 1930s, all full-length portraits including Bunny Austin, inscribed "To Mr Dempster. The increaser of my muscular strength & my mental & physical wellbeing", approx. 21.5 x 16.5 cm., and others of similar size (including five framed and glazed) The others comprise Gottfried von Cramm, Raymond J. Casey, John D. Hennessy, Gerald Patterson, Miss D. Akhurst (Australia), Helen Hull Jacobs and one other lady tennis player, signed indistinctly (Rye?). Provenance: Doreen M. Gay, nee Dempster, daughter of Dr. W.F.H. Dempster, who was a well known osteopath with a practice at 3 Manchester Square, London. (8)

*Perry (Fred, 1909-1995). Three black & white press photographs showing Fred in action, all signed and inscribed in ink, c. 1930s, the inscriptions read "To Mr Dempster - the man who made it all possible. My sincere thanks", "Loads of thanks for giving me the chance to play tennis!!", "Good luck and many thanks from one of these two he cured!", each approx. 16.5 x 21.5 cm., and slightly smaller Provenance: Doreen M. Gay, nee Dempster, daughter of Dr. W.F.H. Dempster, who was a well known osteopath, with a practice at 3 Manchester Square, London. (3)

*Wimbledon. Album containing 82 signed press photographs, late 1950s, including male and female tennis players who played at Wimbldon during the period including Althea Gibson, Darlene Hard, etc., all signed or inscribed, sizes vary but typically 10 x 8 inches (1)

Cook (William, Junior). The Game of Billiards, with a Special Treatise on Nursery Cannons, n.d., c. 1908, port. frontis. of a late W. Cook and William Cook Jnr., diags. to text, Thurston's ads. on both front and rear endpapers, orig. printed boards, frayed and chipped on spine, 8vo William Cook Junior, Maker World's Record Break, 42, 746. Maker Nursery Cannon Record, 180 Cannons, and only professional who has made the Rocking Cannon 1,000 unfinished, 1908 season. (1)

*Higgins (Alex 'Hurricane', World Snooker Champion). Original manuscript signed 'Alex Higgins' [written at New Bond Street House, 21st February 1973], relating to the controversy at Hartlepool on 19th February when Higgins walked out of a match against John Spencer, "Sun readers and snooker fans in Hartlepool and in the North East I should like to clarify some of the things that happened in Hartlepool Town Hall. As I walked into the Town Hall 10 minutes late at first glance it looked just like any one of many Town Halls that I have played in. But once we got down to playing when the house lights were turned off I just could not believe it. I felt as if I was having a candlelight dinner with a beautiful dolly bird after ... I believe I am the most attractive player and entertaining player to watch. Even at Hartlepool in them conditions I played some great shots. But I love snooker. The only thing I want to do is make breaks preferably 100 breaks and entertain. I play throughout the country and anyone who knows me will tell you I give value for money ... the whole aim of the match was to entertain the Hartlepool public and for that matter any paying public deserve it. I am sorry to say this but the organisation was a shambles. Hoping I can come to Hartlepool soon, yours in sport", written in blue ballpoint pen in legible but erratic writing with idiosyncratic punctuation, two pages on two leaves, folio, together with six contemp. newscuttings including an abridged and edited version of Higgins's account published in the Sun (21st February 1973) (7)

*Bateman (H.M., illust.). "The Umpire Who Confessed He Wasn't Looking!", c.1950s, mounted col. print showing appealing cricketers and embarrassed umpire, framed and glazed, overall approx. 44cm x 55cm, together with a framed and glazed team photograph of "Leigh Cricket Club - Season 1911", overall approx. 36cm x 46cm First item signed on mount in black ink by H.M. Bateman. (2)

Wisden's Cricketers' Almanack, 1916, adverts both front and rear, orig. hardback cloth gilt, sl. rubbed with a few minor marks, 8vo Inscribed in ink to title by the editor Sydney H. Pardon to S.J. Southerton, the son of Jack Southerton who represented England. (1)

*Moore (Bobby, 1941-1993). A bingo ticket inscribed to verso in blue biro 'To Daniel. Bobby Moore', the ticket measuring 11 x 10 cm Provenance: the signature was obtained by the owner's mother during Bobby Moore's visit to Top Rank Bingo c.1988. Bobby inscribed it to Daniel who was at home ill in bed. (1)

*Bateman (Henry Mayo, 1887-1970). 'The Man who Missed the Ball on the First Tee at St. Andrews', colour ptint, signed by Bateman to lower margin, plate dimensions approx. 285 x 420 mm, together with a golf related music cover entitled 'Golf Waltzes', approx. 330 x 230 mm, both framed and glazed (2)

*Bateman (Henry Mayo, 1887-1970). 'The Man who Bid Half-Guinea at Tattersall's', together with 'The Favourite Wins', two colour printed equestrian scenes, both signed in ink to margin, a few light spots, framed and glazed (2)

*Lamplough (Augustus Osborne, 1877-1930). Evening on the Banks of the Nile, with Tomb of the Kings beyond, watercolour, signed lower left, approx. 495 x 720 mm (19.5" x 28.5"), framed and glazed Augustus Lamplough was a landscape and architectural painter, who specialised in views of the Middle East and North Africa. He exhibited at the Royal Cambrian Academy, Walker Gallery, Liverpool, and The Fine Art Society. (1)

*Chappell (Reuben, 1870-1940). Imaginary river landscape with deer and circling eagle to foreground, the winding river within a deep gorge leading out to the sea, with row boat and sailing vessel in the distance, oil painting on late 19th-century stained pine cupboard/wardrobe door, signed by the artist, the arched top image approx. 83 x 39 cm An unusual work by this artist, who is best known as a marine painter. (1)

*Warne-Browne (Alfred J., 1851-1913). Rocky coastal scene with breaking waves, oil on panel, signed, approx. 215 x 340 mm (8.5 x 13.5 ins), period gilt frame, glazed Alfred J. Warne-Browne was a landscape and marine artist who worked in Cornwall. He exhibited widely, including at The Royal Academy and Walker Gallery. (1)

*Flaxman (John, 1755-1826, attrib.). Two pencil sketches mounted on a single sheet, comprising a study of a tomb with reclining naiad, inscribed in pencil 'Mrs: Elizth: Norris, 1779, Finchley', and an outline profile drawing of a man's head, approx. 95 x 130 mm (3.75 x 5 ins) and 130 x 90 mm (5 x 3.5 ins), respectively With an additional inscription in ink to the album leaf on which these two drawings are tipped-in 'From John Flaxman's sketch book when a boy. The writing of later date - the book sold to America 1920'. The study of a tomb sculpture is based on the tomb still extant in St. Mary's Finchley graveyard, made for Elizabeth Norris, who died in 1779. (1)

*Townley (Charles (1737-1805)). Three original portraits of Paolo Veronese, Anibale Caracci and Antonio Caracci, drawn by Charles Townley from the original paintings in the Medici Collection, 1776, fine original drawings on paper, each with caption written to lower margins, occ. minor spotting, portrait of Anibale Caracci slightly damp stained, image approx. 355 x 310mm; 330 x 290mm & 355 x 290mm Charles Townley was a major collector of classical antiquities and marble sculptures, who made a number of long tours to Rome, as well as extended journeys to southern Italy, Naples and Sicily during the 1760s & 70s. In Rome he collected antiquities, especially marble sculptures. He established himself as a serious collector with purchases from the printmaker Giovanni Battista Piranesi and other Roman dealers, and especially from the English dealer in art and antiquities Thomas Jenkins. Over a period of more than twenty years Townley bought at some of the most important public sales of antiquities, among them those of Henry Constantine Jennings (1778), the Duchess of Portland's museum (1786), Lord Cawdor (1800), and Lord Bessborough (1801). Townley was elected fellow of the Society of Antiquaries in 1786 (and to its council in 1798) and fellow of the Royal Society in 1791. In 1786 he was also elected to the Society of Dilettanti, and from 1799 served on a committee appointed to publish engravings and descriptions of Specimens of Antient Sculpture (drawn largely from his own collection and that of Richard Payne Knight), which eventually appeared in 1809. In 1791 he was elected a trustee of the British Museum, where he influenced the design of the extension planned to house the museum's growing collection. It was not until 1984 that the British museum created a gallery dedicated to the Townley marbles. (3)

*Tull (Nicholas, died 1762). A set of six uncoloured engravings, numbered 1-6, by Francois Vivares & W. Elliott after paintings by Nicholas Tull in the collection of Mr. Panton Betew, pub. Ryland & Bryer, n.d., c. 1760s, together six uncol. engravings, each approx. 260 x 340 mm (10.25 x 13.5 ins), with margins, sheet size approx. 380 x 565 mm (15 x 22.25 ins), some soiling and marginal marks to margins (first plate torn with a little loss to left hand margin, not affecting image) Nicholas Tull was a painter of portraits, landscapes, and rustic subjects, who exhibited at the Society of Artists in 1761. (6)

*Fitton (Hedley, R.E., 1859-1929). Rialto Bridge, Venice, etching, signed and titled in pencil to lower margin, plate size approx. 365 x 335 mm (14.25 x 13.25 ins), mounted Hedley Fitton was an etcher who specialised in architectural views and street scenes in London, Florence, Venice and elsewhere. He was awarded a gold medal by the Société des Artistes Francais. (1)

*Nevinson (Christopher Richard Wynne, (1889-1946)). Autograph letter signed to the publisher Grant Richards, dated December 3rd, 1917, handwritten by Kathleen Nevinson, and signed by C. R. W. Nevinson, on writing paper with blindstamped address of 4, Downside Crescent, Hampstead, beginning "I have had another one of my pictures censored - a painting of two soldiers who were dead. I think you will agree that it is absolutely impossible under these conditions for me to supply you with enough work to make a book sufficiently different from the "Western Front" ...", together with another autograph letter signed to Mrs Grant Richards from Kathleen Nevinson, dated July 28th, 1918, on single sheet of writing paper, with blindstamped address of 4 Downside Crescent, Hampstead, replying to an invitation, "... we would both love to come, as you can easily imagine, but Richard has been told to be ready to go to France anytime this August, and is quite unable to extract a date from them, so we are living just from day to day without plans of any sort", plus an At Home invitation from Mr. and Mrs C. R. W. Nevinson to Grant Richards (undated), and one other autograph letter signed from C. R. W. Nevinson to Grant Richards, dated February 8th, 1941 (corrected to 1942), in which Nevinson describes his wartime conditions "I work away at painting and am still not up to the present selling off ... but have nothing to look forward to but starvation in time. ... I work all night on a stretcher bearer at hospital & Kath an identification officer! What an ending! At our beautiful studio however on and on we go and God knows why." Included with this lot is a portrait photograph of C. R. W. Nevinson by Lafayette, inscribed to lower margin 'To the "Grant Richards" from C. R. W. Nevinson', and a copy of the Memorial Exhibition of Pictures by C. R. W. Nevinson held at the Leicester Galleries in 1946 (6)

*McKenzie (Winifred M.). 'Vineyards', colour woodcut, signed and titled in pencil, image size approx. 285 x 240 mm (11 x 9.5 ins), with margins, framed and glazed, together with 'Loch Gair', colour woodcut, signed and titled in pencil, image size approx. 290 x 240 mm, with margins, framed and glazed Winifred M. McKenzie was a wood engraver and painter who studied at the Glasgow School of Art, and in 1932-33 studied wood engraving at the Grosvenor School of Modern Art under Iain Macnab. During the second world war she taught wood engraving to service men and women at St. Andrews University, and was part of the St. Andrews Group of Wood Engravers which included her sister Alison, Annabel Kidson and Jozef Sekalski. (2)

*Chagall (Marc, 1887-1985). 'Figure and Red Sun', 1970, original drawing in coloured crayons, with dedication to Tom Monnington, boldly signed, and dated St. Paul 1970, executed on the front endpaper and half-title of Chagall, Dessins Inédits, Texte de Jacques Lassaigne (Le Goût de Notre Temps), pub. Albert Skira, 1968, overall size of image approx. 160 x 310 mm (6.25 x 12 ins) Sir Thomas Monnington (1902-1976) was a painter who studied at the Slade School of Art between 1918 and 1922. During World War II, he joined the design team of the Ministry of Camouflage and was appointed an Official War Artist. He taught at the R. A. Schools, Camberwell School of Art and the Slade. In 1966 he became President of the Royal Academy. (1)

*Knight (Harold, 1874-1961). The Washerwoman, watercolour, with traces of bodycolour on paper, signed, approx. 345 x 300 mm (13.5 x 12 ins), framed Harold Knight was born in Nottingham and studied at the Nottingham School of Art, where he met Laura Johnson (1877-1970) who later became his wife Laura Knight. He later studied at the Royal College of Art and in Paris, returning to England to live in the Yorkshire fishing village of Staithes. In 1907 Harold and Laura Knight moved to Newlyn, where they associated with the artists Houghton, Lamorna Birch and others. Harold Knight was elected to the Royal Academy in 1937. See illustration inside front cover of this catalogue. (1)

*Maddox (Ronald, 1930-). Church in a landscape, coloured inks on paper, signed, approx. 170 x 275 mm (6.75 x 10.75 ins), framed and glazed Ronald Maddox P.R.I. is a painter and illustrator who works in the manner of Sir Hugh Casson. (1)

CECIL ALDIN A portrait of the Queen's favourite horse, "Kintore", in a loose box, with a terrier. Oil on canvas. 20 x 30ins. PROVENANCE. The estate of Emily Moore, who commissioned the young Cecil Aldin to paint a portrait of this grey which had been a favourite of Queen Victoria. Sold together with a signed and inscribed dedication from Cecil Aldin to Emily Moore in which he acknowledges this first commission.

Germany Medallic Baptismal Coin or Tauftaler c.1700 struck at Zellerfeld Hartz by the mintmaster Rudolf Bornemann (1676-1711) St. John the Baptist anoints Christ who stands in the river Jordan rev legend around and in eleven lines in centre 2in (51mm) diameter wt. 28.9gm.

Churchill (Rt. Hon. Winston S, M.P. ). 'Winston', pub. Vanity Fair, September 27, 1900, orig. chromo. caricature by Spy, with part of associated leaf of text, folio Churchill was first caricatured by Spy when he was twenty-seven, on the brink of a meteoric political career. The artist has portrayed him elegantly dressed, with arms akimbo and has captured the young politicians expression of engaging arrogance and liveliness. The text states: 'He can write and fight . For himself, he has hankered after Politics since he was a small boy, and it is probable that his every effort, military or literary, has been made with political bent . He is something of a sportsman: who prides himself on being practical rather than a dandy; he is ambitious; he means to get on, and he loves his country .' (1)

*Barrie (Sir James Matthew, 1860-1937). A group of ten autograph letters signed, 'J. M. Barrie', all but one (Kirriemuir) written from London addresses, some undated, but probably 1894-96, and one dated 22nd July 1913, all to [Graham] Balfour, the majority of letters concerning failed meetings and new suggestions for meeting places and dates, the last three letters (5th February 1896, 15th November 1896 & 22nd July 1913), with more substance, the first congratulating him on his engagement, 'About the surest thing in life is that the man who never has such news to tell is shorn of his greatest play & has missed that which makes him most a man. You will see new beauties in life and all your days I believe .', saying how sorry his wife was that she missed Miss Brooke that day, 'So I am, and so is the dog, who has an insatiable appetite for these little affairs and has been chuckling all the morning. What good news it would have been for R.L.S. [Robert Louis Stephenson]', referring to Lloyd Osborne and his poor health, and making more jokes about the dog, penultimate letter saying 'It is very kind of you to write about "Margaret Ogilvy" [a novel published in 1896], which naturally has a place apart among my books for me', asking for Miss Stephenson's Edinburgh address so that he can send her a copy of the book, 'We had in many ways an enjoyable time in America and not least was my delight in final number of "St. Ives" which I read there. I can only conclude that what follows is not so good else Louis's idea that this book was not in his finest rank was utterly wrong', saying how glad he is to hear the good news from Samoa, hoping to see Brooke, saying how he is glad that he likes Oxford, etc, the final letter in a more difficult hand, saying how pleasant it was to hear from him and that he is going to Scotland for a month or two, a total of 24 pages, 8vo, the last letter with orig. postmarked envelope Sir Thomas Graham Balfour (1858-1929), author and educationalist, and first cousin to Robert Louis Stephenson. In the late 1880s, Balfour travelled extensively, and in 1891, he accepted Stephenson's invitation to make his home at Vailima, Samoa, returning to England in 1894, after Stephenson's death. (10)

*Commonplace Book. The manuscript Commonplace Book of Edward Hoolse, c. 1653-57, notes on history, classics, etc, largely in Latin, with some Greek and English entries, written in a legible hand from both ends of the book, approx. 100 pp. in total, some dampstaining throughout, ownership signature to front free endpaper, 20th-century morocco gilt, 8vo DNB lists an Edward Hulse (1638-1711, Physician), who was born in Stanny, Cheshire; and who metriculated at Emmanuel College, Cambridge, in 1656, and graduated BA in 1657, though it is not clear whether the author of this manuscript is the same person. (1)

*Hearth Tax. An original receipt in the name of Martin Day of Eye (Suffolk?), 16 August 1689, printed template with manuscript additions, some minor wear, without loss, approx. 10 x 10 cm The Hearth Tax consisted of a half-yearly payment of one shilling for each hearth in the occupation of every person whose house was worth more than 20s per year, and who was a local ratepayer of church and poor rates. It was introduced at a time of serious financial emergency by Charles II as a temporary measure. (1)

*Irish Volunteers. A group of twenty-three autograph letters signed 'Charlemont', from James Caulfeild, First Earl of Charlemont, plus two autograph addresses, 12th February 1787 to 7th August 1797, all written in his role as Commander-in-Chief of the Volunteer Army in Ireland, to Thomas Prentice [of Ennislare, Armagh, 1711-77], written in a very neat right-sloping hand, conveying information concerning the volunteers and the situation in the county and thanking Prentice for information received from him, the first address (signed and dated 1st August 1788) begins "whereas the county of Armagh tho' now, I trust, well recovered from her late dangerous and shameful disorders, must however still be, (as is the case with all convalescent Bodies), in a situation delicate and critical, and whereas some new Corps of Volunteers have been recently formed in said County, who, from the Novelty of their Association, may be supposed not yet thoroughly acquainted with the Principles and Discipline of the respectable Body in which They have enrolled themselves, I think it my Duty, as their chosen General and peculiar Colonel, to remind them that their Association is founded upon the Principles to both of which They are bound equally to adhere, namely, the Defence of their Country against Invaders, and the Preservation of internal Peace and good Order.", the second (signed and dated 19th April 1791), begins "To the Freeholders of the County of Armagh. My dear friends and Countrymen, Depressed by the Effects of a tedious Indisposition I am scarcely able to write: yet an Address like that which you have honoured me must not remain unanswered, and, spite of bodily Weakness the Feelings of my Heart, breaking thro' every Impediment, must and will have Utterance - your Approbation of my Conduct upon the late Occasion affords me the highest Satisfaction, in as much as my having acted so as to please you is to me a full Security that I have acted right. I have hitherto injoyed your Favour not as your Governour, but as your Friend, a Connexion which no Power on Earth can dissolve', one letter (dated 21st March 1793) referring to the legislation restricting movement of arms and suppressing Volunteering, 'Tho' I did not vote for the Act by a Clause of which the keeping of cannon without License is prohibited, yet, as it has ever been my Opinion, when enacted, every Law ought punctually to be obeyed. ', many with integral address panels and free frank marks, a few tears and repairs with loss of text including several lines to both pages of first address, a total of 48. pp, mostly 4to, all tipped-in at left margins to a later album, with a manuscript note about the collection by Henry Prentice to front pastedown and a note by Sir Graham Balfour to front free endpaper, 19th-century cloth, a little rubbed, 4to James Caulfeild (1728-99), was created Earl of Charlemont, 1763. He was made Commander-in-Chief of the Volunteers in 1780; a friend and supporter of Henry Grattan, he opposed both Catholic emancipation and the Union. Provenance: from the family of Sir Graham Balfour, great grand-nephew of Thomas Prentice. (1)

*James (Henry, 1843-1916). Autograph letter signed, 'Henry James', 34 De Vere Gardens, London, W, 13th March 1896, to Graham Balfour, congratulating him on his news [engagement to Rhoda, daughter of Leonard Dobbin Brooke of Birkenhead], 'May it be, for you, the beginning of much peace and plenty. It will owe you a good deal, certainly, for what it will make a man of your adventurous spirit give up. Oh, but happy the man who has had such adventures and gathered such memories that he can renounce without a sense of privation', congratulating Rhoda as well, referring to Lloyd [Osborne], telling that he has taken a cottage for several months in Sussex, concluding 'However, I rejoice in your intended Oxford, for I go there (as have you) often enough to feel it to be quite suburban', 6 pp. with final words, sentiment and signature written longitudinally across start of letter in typical style, 8vo, together with a TLS from Leon Edel, University of Hawaii at Minowa, 29th January 1976, to Michael Balfour thanking him for sending the enclosed letter which may or may not be included in the third volume of James's Letters which Edel was then working on, one page, 4to Sir Thomas Graham Balfour (1858-1929), author and educationalist, and first cousin to Robert Louis Stephenson. In the late 1880s, Balfour travelled extensively, and in 1891, he accepted Stephenson's invitation to make his home at Vailima, Samoa, returning to England in 1894, after Stephenson's death. (2)

*Kokoschka (Oskar, 1886-1980). Autograph letter signed 'Oskar Kokoschka', [London], 19th February 1950, to Mr. Roland Hill, thanking him and his friend for their nice letter which gave him much pleasure, 'I agree with you in that the official recognition in this country is still withheld from me. Youth must obviously be part of the answer to your query, youth which has nothing to say here as far as it concerns fashion. Fashion is a matter of social importance for elderly people, who prefer to follow here the ready-made cultural pattern supplied by the French Art Trade, as you well may know by yourself. But is it worthwhile to interfere in a natural process in a country, that undergoes a considerable nerve-strain, while the official and private people, responsible for giving information of the artistic situation in the present time prefer quite naturally the easy way which provides a quick commercial result?', continuing to reflect that numerous named international art museum 'brought together great comprehensive, representative exhibitions of my life's work. That is true! But, you overlook the fact that these eighty or so paintings had to be traced in many countries, borrowed from public or private collections, in short, transport expenses paid. It is quite obvious that such a painstaking labour will not be done where the interest or passion for it does not exist', then telling of an exhibition in the following year being prepared by the American authorities for Germany and the Nordic states, saying that it is 'due to the enthusiastic response of the young generation in America. I cannot even be very helpful in telling you where you could see original paintings of mine here', giving the name of Mr. Beddington-Behrens and his address, and concluding that should he visit London to give him a ring to meet, four pages, 8vo sheet written as two pages, 4to, small split to centre fold, orig. postmarked envelope, soiled and worn, together with an ALS to the same fan from Kokoschka's wife Olda, London, envelope postmarked 24th April 1950, to Mr Hill regretting that they cannot meet up with him due to a previous concert engagement and hoping to meet up with him soon, one page, 8vo, orig. envelope, soiled and some wear (1)

*Scotland. Important and very detailed early vellum manuscript grant, dated on Edinburgh 8th May 1556 , (21 x 27 inches), in which James Scott and John Sinclare, provosts of the collegiate churches of Corstorphine and Roslyng in the diocese of St. Andrews, Judges, executors and delegates of the diocese, have received letters of the most reverend John, Archbishop of St. Andrews, primate of the realm of Scotland, direct orders from Pope in Rome and any person who should rashly disobey will incur the wrath of almighty God, and granting lands in the Parish of Edinburgh with all buildings, woods, plains, moors, marshes, ways, tracks, water pools, rivers, meadows, feeding grounds and pasture, mills, livestock and their young, hawking, hunting, fisheries, peatbogs, turbaries, mines, charcoal, warrens, doves, dovehouses, smithies, malting, tofts, crofts, orchards, breweries, lands, woods, groves, heriots and merchets, etc, the document also grants money for the repair and rebuilding of the monastery which has been burnt by the English, the ancient enemies of Scotland, etc, fine document with large ornate pendant wax seal, with outer bees wax and red wax centre showing elaborate coat of arms, accompanied by a full six page translation (1)

Demosthenes (). Opera, Paris, apud Joannem Benenatum, 1570, Greek letter text, printers woodcut device on title, early ownership signature on title, woodcut initials, some age browning, contemp. limp vellum, a little soiled, repaired at head and foot of spine, folio Adams D267: Brunet vol. 2 p. 588. 'This edition is a beautiful and excellent one, taken chiefly from the first of Hervagius. It was begun by Morel in 1558, but he dying in 1564 it was finished by Benenat, with the assistance of Lambinus. The first part by Morel [who altered the Aldine arrangement of the Orationes, and collated eight Parisian mss. with many other valuable works] is not only more beautiful but more correct.' (Dibdin vol. 1, p. 480). (1)

Eusebius Pamphilius (Bishop of Caesarea). Evangelicae Preparationis Lib. XV, bound with Evangelicae Demonstrationis Lib. X, Paris, Robert Estienne, 1544-1545, Greek letter text, printers woodcut device on both titles and verso of final leaf, large foliated woodcut initials, contemp. vellum, darkened on spine and some soiling, folio Adams E1082 & 1087: Brunet vol. 2 p. 1107. Editio Princeps of Eusebius's important apologetic work of the early Christian church demonstrating that Christians were justified in accepting the sacred writings of the Hebrews and in rejecting the religion and philosophy of the Greeks. 'The cursive Greek types still acknowledged as some of the finest ever cut were based on the script of the calligrapher Angelo Vergezio, who was then transcribing and cataloguing Greek manuscripts for the Royal Library' (Mortimer vol 2. pp. 266-67). (1)

Excise. Instructions for Officers of Excise in the Country, 1787, bound with Instructions for Officers who Survey Maltsters and Cider Dealers in the Country, 1798, plus Instructions for Officers who Survey Makers of Candles in the Country, 1786, plus Instructions for Officers Concerned in Ascertaining the Duties on Sope, in the Country, 1797, plus Instructions for Officers of the Duties on Hides in the Country, 1797, plus Instructions for Officers who Survey Makers of Bricks and Tiles in the Country, 1785, numerous tables on letterpress, final few leaves water-stained, contemp. half calf, rubbed, with some sl. wear to extrems, 8vo (1)

Lucan. Pharsalia,in Latin verse, mansucript on paper, [northern Italy (possibly Padua), first half of the fifteenth century] 149 leaves (including defective leaves and three blanks), 294mm by 217mm, lacking three gatherings at the beginning and leaves designated '123', '154' and '157', else complete (except that leaves towards the end are so increasingly fragmentary that very little text remains), collation: i-iv10, v3 [apparently of 4, modern pencil foliation assumed it was of 10, which is improbable, 3 blank, iv cancelled], vi-ix10, x9 [of 10, lacking iii], xi-xii10, xiii8. [of 10, lacking iv and vii], xiv-xv10, xvi9 [of 10, x cancelled], with horizontal catchwords within radiating flourishes, traces of alphabetical leaf signatures, modern pencil foliation (followed here) takes account of missing leaves and presumed cancels, 20 lines, ruled in plummet, written-space 168mm by 100mm, written by several scribes mostly in a gothic bookhand, fol.71 in a sloping humanistic cursive, (perhaps an early replacement), first initials of each line in flourished gothic capitals set slightly apart from the textblock, the letters rubricated on fols.113v-115r only, simplified T-O map of the world drawn on fol.157v, showing Europe, Asia, Egypt, Liberia, the Nile, etc, very extensively glossed throughout in several cursive and semi-humanistic hands, a pentrial in Italian on fol.79v, some stains and creases, very worn and extensively conserved, many defective margins repaired (including the first two), by fol.152 the marginal defects begin to creep into the text area and from then on the text is increasingly defective so that by fol.179 only inner ribbons survive, all skilfully repaired with toned paper, contemporary binding of wooden boards sewn onto three leather thongs (replaced), covered with reversed leather ruled into a frame and saltire pattern, nine metal bosses on upper cover, stubs (only) of two clasps held by pairs of metal pins, trace of medieval title on upper cover '[Lu]canus', lower cover mostly missing, binding very worn and repaired, modern paper endleaves, in a half red morocco and marbled paper book box Provenance: The watermark is a hunting horn, of the type of Briquet 7684 (Padua 1416-20, and elsewhere to c.1430). From the de Polo collection (bought from Rizzi, 1981, previously owned by Govi, 1980); sale at Semenzato, 5 May 2003, lot 49; sale at Sotheby's, 5 July 2005, lot 84. Marcus Annaeus Lucanus (39-65 A.D.), was a nephew of both the philosopher Seneca and of Gallio, deputy of Achaia, who interviewed Saint Paul (Acts 18:12-17). Lucan became court poet to Nero, who eventually out of jealousy of his literary ability commanded Lucan to kill himself at the age of 26. The Pharsalia is his only surviving work, and is the greatest Latin epic after the Aeneid. It is a poem in ten books on the wars between Caesar and Pompey and includes good accounts of Spain and Egypt, with notable digressions on Roman and Egyptian religion. The present manuscript opens in Book II, line 396, Umbrosis mediam qua collibus , continuing with Books III (fol.40v), and IV (fol.60r). This breaks off on fol.70v at line 437; lines 438-50 are in a slightly later hand. There is no Book V and the alphabetical leaf signatures do not allow for it. The poem continues with Books VI (fol.81r), VII (fol.102r), VIII (fol.124r), IX (fol.145v) and X (fol.175r). The last leaves are very defective. The ends of the words visible on fol.188v are remains of lines 531-39, which allows for the text to have ended correctly at line 546 on that page. There must have been a verse colophon at the top of fol.189r, of which only a few words remain. (1)

Plutarch. The Lives of the Noble Grecians & Romans , Cambridge, 1676, eng. frontis. and facing explanation leaf, both sl. damaged with some loss of side notes to explanation leaf, both relaid, some eng. vigns. to text, old waterstaining throughout with some paper deterioration and tears to lower margins, later half calf, joints cracked, folio (Wing P2634), together with Vertue (George), A Catalogue of Engravers, who have been born, or resided in England, digested by Mr. Horace Walpole, 2nd ed, 1786, a little marginal browning, contemp. calf, joints cracked and some loss to head of spine, together with Juvenal, Sixteen Satyrs or, A Survey of the Manners and Actions of Mankind , ed. Sir Robert Stapylton, 1647, eng. port. frontis. and addn. title page (closely trimmed at lower margin), errata leaf at rear, lacks final blank, some occn. spotting and a few fore-margins sl. chipped, modern half calf, 8vo, (Wing J1291), plus Quarles (Francis), Emblems, Divine and Moral, together with Hieroglyphicks of the Life of Man, 1718, eng. frontis, eng. emblems throughout, lower outer corners of leaves A7/8. cutaway with some loss of text, contemp. panelled calf, joints cracked, 12mo, plus other 17th & 18th century classics and history (10)

Taylor (Jeremy). Antiquitates Christinae, or, The History of the Life and Death of the Holy Jesus , in two parts , The Second [part] containing the lives of the Apostles . by William Cave, 1678, eng. port. frontis. (from another edition or copy) and additional eng. title page tipped-in, both somewhat soiled and chipped at edges, eighteen (of 20) eng. plts, eng. vigns. to text, some soiling and a few minor defects and repairs, contemp. calf, rubbed, folio (Wing 287A), together with Cave (William), Apostolici, or, The History of the Lives, Acts, Death, and Martyrdoms of Those Who Were Contemporary With, Or Immediately Succeeded the Apostles , 1677, half title and addn. eng. title, eng. illusts. to text, contemp. calf, covers det, plus Walker (John), An Attempt Towards Recovering An Account of the Numbers and Sufferings of the Clergy of the Church of England . in the Late Times of the Grand Rebellion, 1714, old waterstaining to fore-margins, some soiling, contemp. panelled calf, some wear and joints cracked, all folio, plus other 17th & 18th century theology, some with defects (12)

Stewart (C. J.). A Catalogue of the Library collected by Miss Richardson Currer, at Eshton Hall, Craven, Yorkshire, printed for private circulation only, 1833, four eng. plts, prelim. blank with ms. inscription "James William Farrer Esq. with Miss Currer's Compts.", t.e.g, contemp. half morocco gilt by J. Mackenzie, 8vo In the mid-nineteenth century, Miss Frances Mary Richardson-Currer of Eshton Hall, Skipton, became famous for her library and was one of the first female book collectors in Europe. Inheriting her great grandfather's library she built up a collection of 15,000 volumes which she catalogued under subjects such as religion, arts, history, natural history and literature. This, the second catalogue compiled by C.J. Stewart gives an insight into the reading habits of the educated upper class. Miss Currer was also famous as a scholar and became known to Charlotte Bronte who had worked as a governess in a neighbouring house and who may have had access to her library. Miss Currer supported the Clergy Daughters' School at Cowan Bridge and Charlotte admired her commitment to mental improvement for women and interest in phrenology. It is thought that Charlotte Bronte chose the name 'Currer' as part of her pseudonym for her first novel as a tribute to Miss Currer. Only one hundred copies printed. (1)