155745 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

TrialThe Trial of the Seven Bishops, The Proceedings and Tryal in the Case of the Most Reverend Father in God, William Lord Archbishop of Canterbury, and the Right Reverend Fathers in God, William Lord Bishop of St. Asaph, Francis Lord Bishop of Ely, John Lord Bishop of Chichester, Thomas Lord Bishop of Bath and Wells, Thomas Lord Bishop of Peterborough, and Jonathan Lord Bishop of Bristol. In the Court of Kings-Bench at Westminster, .... 1688, Thomas Basset and Thomas Fox, 1689, folio, [8], 140 pages (73-84 misnumbered), first leaf is an engraved frontis with portraits of the defendants, some underlining of Peers, inscription to head of title page, pages tanned, occasional foxing, small hole in Y1, recent half calf. ESTC R7827.Manuscript notes on three sheets loosely inserted, possibly written by a law reporter at the time of the trial. The first sheet, headed 'Tryal of ye Bishops', lists the Judges and Counsel for the King and the Bishops and is addressed to 'Mr William Shaw In ye Temple'. In a different hand is written 'May 29th. 1707. My Mother'. The second sheet records the names of the witnesses including 'Mr Pepys Secr. to ye Adm.' The third sheet includes the 'Peers present at ye Trial of ye Bishops', the 'Privy Councillors who signed ye warrant for their committment to ye Tower' and a list of the Jurymen.[see also lot 183]

Witchcraft[H.F.], A true and exact Relation Of the severall Informations, Examinations, and Confessions of the late Witches, arraigned and executed in the county of Essex. Who were arraigned and condemned at the late Sessions, holden at Chelmesford before the Right Honorable Robert, Earle of Warwicke, and severall of his Majesties Justices of Peace, the 29 of July, 1645. Wherein the severall murthers, and devillish Witchcrafts, committed on the bodies of men, women, and children, and divers cattell, are fully discovered. Printed by M.S. for Henry Overton and Benj. Allen, 1645, small quarto, [8], 36 pages, some shaving, affecting edges of printed marginal notes, bookplate, catalogue cuttings and ms. notes to front endpaper, marbled boards with recent calf spine. ESTC calls for a frontis (not present here) though no other consulted reference mentions one (including Wing, Lowndes and 19th century catalogues of Sotherans, Pickering & Chatto and Quaritch). ESTC R200218.[Provenance: Chirk Castle, David Laing Philips and Robert Lenkiewicz, purchased at Sotheby's, Nov 2003]

WitchcraftGlanvill (Joseph), Saducismus Triumphatus: or, Full and Plain Evidence concerning Witches and Apparitions. In two parts. The First treating of their Possibility; the Second of their Real Existence. By Joseph Glanvil .... With two Authentick, but wonderful Stories of certain Swedish Witches; done into English by A. Horneck, D.D. Printed for S.L. ... sold by Anth. Baskervile, 1689, third edition, 597, [1] pages, text illustrations with full page illustration within pagination, may lack a plate or frontis, (see ESTC and description of third edition issued by others), ink splashes on four pages, tear to lower margin of 2H1 (not affecting text), small hole in 2L8, full calf, recently re-backed, modern endpapers. ESTC R234101Aubrey (John), Miscellanies upon the Following Subjects, I. Day-Fatality, II. Local-Fatality, III. Ostenta. IV. Omens, V. Dreams, VI. Apparitions ........ XXII. The Discovery of Two Murders by an Apparition.A. Bettesworth et al., 1721, second edition with large additions, [2], x, [4], 236 pages plus engraved frontis (located at end of preliminaries in other copies), preliminary gather (A) detached from binding, age tanning and staining, some marginal tears, one word corrected, bookplate, half calf. ESTC T89806Law (Rev. Robert), Memorialls; or, The Memorable Things that fell out Within this Island of Brittain from 1628 to 1684. Edited from the MS by Charles Kirkpatrick Sharpe.Edinburgh: Archibal Constable, 1818, quarto, frontis, (iii) - cxiv, 277, [1] pages, bookplate of Aberdeen Soc. of Advocates with their stamp to title verso, offsetting from frontis to title, staining to edges of endpapers (from binding), half calf; Anon., From Authentic Documents. A History of the Witches of Renfrewshire, who were burned at the Gallowgreen of Paisley. Paisley, John Millar, 1809, duodecimo in sixes, 200 pages, armorial bookplate, re-backed sheep binding;with one other. (5)

[Wood (Anthony)]Athenæ Oxonienses. An Exact History of all the Writers and Bishops Who have had their Education in the most ancient and famous University of Oxford, from the Fifteenth Year of King Henry the Seventh, Dom. 1500 .... Printed for Tho. Bennet, 1691-2, two volumes in one, folio, [12] pages, 200, 219-904 columns, [9], [2] pages, 906 columns, [10] pages. Several preliminaries from the second volume appear to have been bound in the first, possibly leaving one leaf unaccounted for when compared with ESTC (though nothing obvious, and another collation found gives 6 pages before second volume), some margins trimmed close to text, occasional spotting and minor staining, half morocco with marbled boards (rubbed). ESTC R12834 and R200957.

Yorkshire Criminal HistoryYork Gaol, Relief of Pauper Prisoners. A warrant issued by the Justices for the West Riding of Yorkshire on the 17th April in the sixth year of William and Mary [c.1694] to the Chief Constables of Shafforth and Tickhill requiring them to levy various sums upon the parishes and to pay the same to Thomas Thompson 'att his house in Conny [Coney] Street Yorke' for the purpose of relieving the poor prisoners in the Common Gaol for the County of York.Manuscript ink on two paper sheets joined with vellum ties, approx 34.5cm x 29cm, the second sheet lists the various payments for approximately 56 Yorkshire locations, multiple folds, paper tanned, second sheet stained and with several holes, particularly at fold intersections, signed by Richard Nettleton.[The payments may have allowed poor prisoners to pay the Gaoler's fees for their incarceration. Acquitted prisoners could not be released until these had been paid]Thirsk Sessions, The King v. John Casling, For Felony in stealing [Linen and Woollen] Cloth .... taken from Johnson Moses at his Fulling Mill at Crakehall [nr. Bedale], 1766, one page manuscript account of the case against John Casling, to the verso are notes, probably written by an advocate in the trial, including background of the accused and lines of enquiry/questions for the witnesses. A third page gives Proofs (or witnesses) for John Casling.Manuscript on two sheets of paper, each sheet approx 40cm x 32.5cm, pinned together and folded, docket on fourth side, [with]The Information of Johnson Moses, 23rd July 1766, manuscript statement of the victim, detailing his loss and naming the accused. On single side of paper, approx 31cm x 19.5cm. Allerton Mauleverer, List of Fines for the Manor of Allerton Mauleverer (Harrogate District) as passed by the Court Leet, extracted for use by the Bailiff to collect the levies. Signed by Edward Ridsdale, Steward of the Court. 25th February 1731. Manuscript on paper, three pages with docket on fourth, page 41.5cm x 16cm, multiple folds, several holes (some affecting text);Almondbury Rape and Murder, A Narrative of the Trial, together with the last Dying Words, Speech and Confession of Joshua Beaumont, Who was executed on the Drop behind the Castle of York, on Wednesday the 15th Day of August, 1810 for the Murder of Lucy Brooke, 'From W. Storry's Copy, York; Reprinted by Pares, Leicester. - Price One Penny'. 315mm x 205mm, paper uniformly tanned, some creasing, particularly top edge; (5)

Buckingham (George Villiers, 1st Duke), Anglo-French War - The Siege of St Martin de ReAnon., A journall of the Duke of Buckingham his voyage and taking of ye Isle of Rey. [Docket - 1st August 1627], six page manuscript on paper, two sheets folded folio, page size approx 31cm x 19.5cm, three lighter folds. [with]Anon., A true Jurnall or Diarie of all the materialle passages and occurences hapininge at and after our landinge at the Isle if Ree.No date [c.1627], seven page manuscript, two sheets folded folio, page size approx 31.5cm x 20cm, disbound, tape repairs to spine and fore-edge, wear to third leaf affecting script, hole in blank area of final leaf; [with]Transcripts, Two later manuscript transcripts (one partial) of the above and a nineteenth century transcript titled 'An Unhappie viewe of the whole behaviour of my Lo. Duke of Buckingham at the French Island. Secretly discovered by W.H. an unfortunate Comander in that unfortunate service'. Sixteen page manuscript, head of first page inscribed Phillipps Ms 21172, London, Superfine paper (watermarked 1810). Two manuscripts which give contrasting accounts of the unsuccessful English expedition to capture the French fortress city of Saint-Martin-de-Re on the Isle of Re in 1627. After three months of siege, Buckingham was forced to withdraw and suffered heavy losses. The first account gives the 'official view' portraying Buckingham as a brave and pious commander adored by his troops, who 'did ride in the foremost company with such a courageous spiritt wch did so encourage the soldiours that they wished for nothing so much as to have an encounter with the enemy to show their love to the generall'. The campaign had generated a great deal of propaganda at home and in response, alternative and more authentic accounts were written by officers at Re. The second manuscript criticises the route taken by Buckingham and his abusive and arrogant approach to his officers. Various encounters with the enemy are described, giving details of the number of men lost. (5)

Carlisle Garrison An interesting collection of eight manuscripts relating to the Carlisle Garrison in the 1660s, comprising;Letter Signed, from the Garrison Commander, William Feilding to the Governor of Carlisle, Sir Philip Musgrave, giving an account of the state of the garrison, Carlisle. Nobr. 11th, 1667. One page, ink on paper, 31.5cm x 20cm, postscript in left margin; Contemporary Account of an incident in which John Aglionby and his servant were challenged and detained by the Sentinel on Watch at the Garrison on 8th July 1668, resulting in an altercation. The matter was investigated by the Deputy Governor who found that Aglionby had suffered no injury and the soldiers were doing their duty. Two pages on one leaf of folio, ink on paper, 30cm x 19cm, large hole in paper with further tears to top and bottom edges causing loss of script;Contemporary Copy of an Order of the Mayor, Aldermen and Citizens of Carlisle, reciting offences and grievences against Carlisle Garrison which had gone unpunished and concluding with an Order authorising John Aglionby to do all things expedient to obtain redress and indemnifying him as their 'attorney'.13th July 1668, two pages on one leaf of folio, ink on paper, 29cm x 19cm, two large holes with loss of script;Examination of Wm Lister Corporall, George Bradshaw, John Goodridge, Phillip Corbett, Edward Stacey & Robert Jagger. A detailed and colourful account of the quarrel between John Aglionby and the Garrison of Carlisle,.23rd September 1668, single page, ink on paper, 38cm x 30cm, several folds, docket verso; A Signed Affadavit (or contemporary copy) by William Wilson, the Mayor of Carlisle relating to Aglionby's complaint. The latter had asked for the City's seal to be affixed to his letter of attorney. The Mayor replied that the Council had not intended it to be affixed until they had discussed the affair with the governor Sir Phillip Musgrave. 30th October, 1668, single page ink on folio paper, 29cm x 20cm, two holes with loss of script;Contemporary Copy of the petition of Sir Philip Musgrave, to Charles II in Council complaining of the behaviour of John Aglionby and praying that Aglionby be summoned before the Privy Council. No date, single page, ink on paper, 22.5cm x 17.5cm, significantly torn with loss;Autograph letter signed from Christopher Musgrave to his father, Sir Philip advising him that the King would hear the case and that he had advised the Earl of Carlisle to persuade the Corporation to submit to the Governer. Dated Aug 29th, single page, ink on paper, 20.5cm x 15cm;Contemporary Copy of Sir Philip Musgrave's speech to 'Mr Maior, and You Gentlemen of the City [Carlisle]' at a meeting to put in execution His Majesty's order. No date [1668], two page ink on paper, 29cm x 18.5cm, docket on blank part of verso. (8)[Typed transcriptions of each document, produced by David Stather in 2018, will be made available to the purchaser]

Charles I - Chirk Castle Manuscript[Warwick (Sir Philip)], Memories of the Reign of King Charles the First.28th August, 1679, folio, c. 353 pages, ink manuscript on paper, neatly written within red ruled borders, page size 377mm x 242mm, smaller seven page index tipped in at front in early hand, light foxing to the first and last leaves, occasional very light foxing elsewhere but generally clean, marbled endpapers with bookplate of Robert Myddelton of Chirk Castle [1678-1733], full calf binding with neat restoration to spine and corners (some surface wear).Signed typescript note by David Stather loosely inserted, identifying the author as Sir Philip Warwick (1609-1683), royalist Member of the Long Parliament, who served Charles I as a Secretary throughout the Civil War. Not intended for publication, the work was published posthumously in two parts: 'Memoires of the Reigne of King Charles I ...' 1701 and 'A Discourse of Government ...' 1694. Reference is made to the manuscript in Fasti Oxoniensis (1691).[Provenance - purchased at Christie's Chirk Castle sale in June 2004]

Charles II (King of England)Warrant 'To Our trusty and welbeloved John Howe Esquire' .... Appoint you to be Colonell of a Regiment of Horse ...... Authority to leavy the full number of 500 Horse for the said Regiment. And to constitute all such Officers as shall be necessary ...... And therwith to fight kill and destroy all who are in Armes against Us. And to seize on any fort or place in Rebellion against Us ..... ' Brussels, 20th July 1659, signed 'Charles R' in upper margin, red seal under paper (partly detached), ten lines of faint manuscript on vellum, 80mm x 203mm, three folds, top corner torn without loss of script, 'docket' verso (predominantly numbers)

Church of EnglandConstitutions and Canons Ecclesiasticall, Treated upon by the Bishop of London, President of the Convocation for the Province of Canterbury, and the rest of the Bishops and Clergie of the said Province ....Robert Barker, 1604, small quarto, A-Y4, first and last leaves are blank, the last blank supplied, top edge of headlines cropped in places, notes in early hand to both sides of first blank A1, some minor early underlining of text, armorial bookplate, all edges gilt, full calf with blind-stamped borders. ESTC S101546Church of England, Articles Agreed Upon by the Arch-Bishops and Bishops of both Provinces, and the Whole Clergie, In the Convocation holden in London in the yeer 1562 ......Robert Barker, 1638, small quarto, [2], 6, [22] pages, lacking the first blank leaf, head margin clopped to headline in places, a few stains to title and final page, title reinforced at head, signed manuscript declaration to title verso by John Rogers, parson of Croghlin (Cumberland) who confirms that on Sunday 24th March, 1660 [?1661] at afternoon prayer, he read all of the Articles in 'this booke' and declared his assent to the Articles. The memorandum is also signed by three witnesses 25th March 1661, quarter vellum. ESTC S125374;L'Estrange (Hamon), The Alliance of Divine Offices Exhibiting all the Liturgies of the Church of England since the Reformation ..., Charles Brome, 1690, second edition, folio in fours, [16], 264, 275-313, [1], 325-348, 337-339, [1] pages, text continuous despite pagination, general age tanning, occasional spot stains, small hole in 2H2, several marginal tears, worn sprinkled calf. With one other (4)

Falstaffian Bar BillManuscript Board and Lodgings Account, for Capt. Fleming, who from February 12th to 16th March, 1684, consumed a great deal of ale as well as 'sack with sugars' (sweetened sherry, apparently Falstaff's favourite), he was also charged £3/12/00 for 'ye woman that ???? him the time of 12 days. The total bill ran to £84/11/00 and is receipted by Elizabeth ?Aldington for John Graham on the 20th March,four pages on single sheet folded once, sheet size approx 39.5cm x 31cm, numerous horizontal creases.

Vinyl Records - Lps and singles inc The Beatles, Steely Dan, The Who, Fats Domino, etc (approx 120)

Rear Admiral Sir Anthony Cecil Capel Miers, VC, KBE, CB, DSO & Bar Signed 6x4 inch Black and White Photo. Signed in blue ink. known as "Crap Miers" and "Gamp", was a Royal Navy officer who served in the submarine service during the Second World War. good condition All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

John M. Wilson Signed Booklet Titled No Known Grave. A5 size booklet published privately by the author, 78 pages. This booklet is signed by the author on the preface page and comes with an post-publication introduction slip by the author fixed onto the inside front cover. This introduction reads: 'When WWII ended in 1945 the MOD imposed a 30 year rule which prevented any research being undertaken into missions flown by the RAF over enemy territory during the conflict. This meant that the wartime missions were not declassified until 1975 by which time my Mother and Father had gone to their graves not knowing what had happened to my late brother Ken who was a Flying Officer in 78 Squadron. I started to research with a view to tracing the steps which Ken had taken from joining the RAF as a V.R. in 1939 until the night of July 29/30th, 1943 when his aircraft failed to return from a mission over Germany and also to try to find out what had happened to himAll autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Colonel Al Worden signed 101st Airbourne US Army cap signature on inside of the peak. Colonel Alfred Merrill Al Worden USAF (February 7, 1932 - March 18, 2020) was an American test pilot, engineer and NASA astronaut who was the command module pilot for the Apollo 15 lunar mission in 1971. One of only 24 people to have flown to the Moon, he orbited it 74 times in the command module (CM) Endeavour. Good conditionAll autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) ROYAN, 1909 oil on board, signed, inscribed and dated versoDimensions:26cm (10 1/4in), 34cm (13 1/2in)Note: Fergusson painted Royan during the exceptional period when he lived in France from 1907 until 1914. More than any other British artist, he played a part in the heady creative circles of Paris’s pre-war art world and whilst there made the works on which his international standing is based.Following sporadic attendances at the Académies Colarossi and Julian in the French capital in the late 1890s, Fergusson began his career in Edinburgh. His first solo exhibition was held at the Baillie Gallery in London in 1905. However, as Alice Strang has explained: ‘An increasing interest in developments in contemporary art in Paris and parallel frustration with the conservatism of the art world in Scotland, an inheritance following his father’s death in 1906 and the start of his relationship with the painter Anne Estelle Rice (1877-1959) in Paris-Plage in 1907, culminated in Fergusson’s decision to move to Paris later that year.’ (1)Fergusson declared ‘Paris is simply a place of freedom’ and established himself in a studio in Montparnasse. (2) First-hand experience of the very latest developments in French art, such as those made by the Fauve artists Henri Matisse, André Derain and Kees van Dongen, had an immediate and dramatic effect upon his work, as can be seen in Royan. This encompasses the bold colour, simplification of form and expressive technique which signalled Fergusson’s progression from the Edwardian sophistication of his earlier work to the forefront of the avant-garde.Royan dates from a key year in Fergusson’s career. In 1909 he exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, in the rue Notre Dame des Champs. Moreover, as Kirsten Simister has written: ‘Fergusson’s artistic confidence and ambition reached an all-time high in 1909 when he was elected a Sociétaire of the Salon d’Automne and given an entire wall for his exhibits.’ (3) Election to this progressive exhibiting society was recognition by Fergusson’s peers of his contribution to the modern movement and he recalled: ‘To me, considering myself a revolutionary, this was a very great honour…it had the effect of confirming my feeling of independence, the greatest thing in the world, not merely in art but in everything.’ (4) Rice received the same honour the following year and together they became key figures in the celebrated group of Anglo-American artists who, for example, founded the cutting-edge journal Rhythm in 1911. After three years of encouragement from Fergusson, his fellow Scottish Colourist Samuel John Peploe moved to Paris in 1910, where he lived for two years.Simister continues: ‘In both 1909 and 1910 Fergusson, Peploe and Rice spent summer holidays together painting in Royan and nearby Saintonge, on the west coast of France. The sea and harbour inspired a number of small paintings made outdoors, which make use of stronger colour to heighten the emotional impact and mood of the scene…[Some]…indicate a tighter, more structured organisation of composition, a feature which became more pronounced over the years to come.’ (5) Fergusson had long been stimulated by working en plein air, in locations as varied as Princes Street Gardens in Edinburgh, the Scottish island of Islay and during summer painting trips to France with Peploe from 1904 to 1907. His enjoyment of responding directly and spontaneously to light and weather conditions, as well as to architectural and natural features, is clear in many of the paintings he created outdoors.In 1913, Fergusson left Paris in search of ‘more sun, more colour’ and settled on the Cap d’Antibes. (6) Due to the outbreak of World War One he moved to London, but returned to the French capital for a decade from 1929. World War Two prompted a move to Glasgow, where Fergusson died in 1961.(1) Alice Strang et al, D. Fergusson, Edinburgh 2013, p.16.(2) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, p.70.(3) Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p. 39.(4) J. D. Fergusson quoted by Margaret Morris in The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 53.(5) Simister op.cit., p. 42.(6) J. D. Fergusson, ‘Memories of Peploe’, Scottish Art Review, vol. viii, no.3, 1962, p.31.

PETER WAALS (DUTCH 1870- 1937), AFTER A DESIGN BY ERNEST GIMSON COTSWOLDS DRESSER, CIRCA 1920-25 oak, Macassar ebony, glazed doors and a central metal-lined filing drawerDimensions:103cm (40in) wide, 208 1/2cm (82in) high, 64cm (25in) deepProvenance:Provenance: Harold W. Goddard, Lyndwood House, Leicester and by family descentChristie's, London, 18th November 1994, lot 87.Note:Note: The Goddard family of Leicester were chemists who patented mercury-free silver and brass polishes, building a large business whose brand name is still synonymous with metal polishes today. They were major patrons of Peter Waals and commissioned many pieces of furniture from him in the 1920s and 30s. The current lot was made for Harold Goddard and can be seen in a period photograph of the dining room at Lyndwood, his home in Leicester. The metal-lined drawer was designed for filing however may have later been used for silver as has a later removable baize cloth to the base.

CHARLES FRANCIS ANNESLEY VOYSEY (BRITISH 1857-1941) SIDE CHAIR, CIRCA 1904 mahogany, with a heart-shaped cut out on the centre splat and close nailed drop-in leather pad seat Dimensions:45.5cm (18 in) wide, 103cm (40 1/2 in) high, 44cm (17 1/4in) deepProvenance:Provenance: Dreweatt Neate, Newbury, 9th February 1994, lot 194.Note: Literature: Livingstone K. et al., C.F.A.Voysey: Arts and Crafts Designer, V&A Publishing, London 2016, pp.159-161 and 197, pl. 204, pls. 338 and 251RIBA catalogue SB115VOY[229], the original drawing for this chairNote: Voysey’s preferred material for furniture was unstained and unpolished oak. He did however specify other materials when he felt them appropriate, in particular, if the other furniture in the house was of a differing material or when specified by a client. He reiterated this to Arthur Simpson of Kendal in 1909 stating that “You must have oak everywhere or nowhere. I will not be a party to the mixture.” A scarce example of his work in mahogany was a commission from the painter Edward Hughes who asked Voysey to design a corner sideboard for his house at 7, Lodge Place in St. John’s Wood in 1898. Voysey obtained quotations for the piece from Frederick Coote in mahogany and deal and mahogany was chosen. Other examples include a fitted scheme in mahogany for Leslie Paton at 29 Harley Street, London in 1919, although no records are known for moveable furniture. An entry in Voysey's black book a G.W. Glynn at 8 Netherhall Gardens in 1910 includes a music cabinet and other unspecified 'furniture'. The current lot and its companion, lot 58, were presumably from a similar commission where mahogany was the more appropriate material.

John James Cresswell. French town scene, watercolour, 36cm x 24cm. John J Cresswell of Louth was the architect who designed St Stephens Church in Grimsby, etc.

Surrey. Seller (John), Surrey actually Survey'd and Delineated, Philip Lea, circa 1690, hand-coloured reticulated map, engraved by Richard Palmer after a survey by John Oliver, large decorative cartouche, slight toning and mount staining, central fold professionally repaired on verso, lower margin extended, 425 x 515 mm, together with Mercator (Gerard). Warwicum, Northhamtonia, Huntingdonia, Cantabrigia, Suffolcia, Oxonium, Buckinghamia, Bedfordia, Hartfordia, Essexia, Berceria, Middelsexia, Southhatonia, Surria, Cantiu & Southsexia, circa 1607, uncoloured engraved map of southern and eastern England, large strapwork cartouche, slight staining and toning, but largely confined to the margins, 370 x 470 mm, French text on versoQTY: (2)NOTE:The map of Surrey was intended for Seller's 'Atlas Anglicanus' and was therefore never published. The plates were sold to Philip Lea who is responsible for this example.

* Home Guard. A WWII archive relating to 2nd Lieutenant A.R.G. Collins circa 1943-44, a Caversham man who served with The 7th Berkshire (Reading) Battalion, Home Guard, including printed and annotated mobilisation maps of Caversham Park and surrounding area, showing boundaries and rendezvous points, 25 x 33 cm, another for 'W' Detachment Home Guard Area, a large scale map for Essential Traffic Routes of Great Britain, 5th Edition dated 1943, Secret Reports to O.C. "B" Coy, 7th Berks (Reading) Bn, H.G. dated 1 October 1943, various training manuals and battalion orders including Regulations for the Home Guard 1942 Volume I & II, Pocket Guide to the A.R.P. Arrangements in Reading, Notes on Map Reding 1929, Hints on Map Reading 1943, two black and white photographs of the Home Guard training, 13 x 21 cm, a framed black and white photograph of No 3 Platoon Aerodrome Coy, 6th Berkshire Regiment Home Guard, frame size 17 x 26 cm and other items, contained in a portfolio for important documents inscribed with owners nameQTY: (1)NOTE:The 7th (Reading) Battalion, Berkshire Home Guard was affiliated with the Royal Berkshire Regiment. The battalion was formed in May 1940 by the redesignation of the Local Defence Volunteer company and was made up of platoons men in reserved occupations and those under age to serve in the armed forces. The battalion wore an army-style khaki uniform which boasted the cap badge of the prestigious Royal Berkshire Regiment and was equipped with rifles.

* Knox (Ian). The Stormont Orchestra, 2nd edition, published for Down's Syndrome Association, 2000, colour print with numerous facsimile signatures of the famous political personages featured in the illustration to white borders, signed and numbered 214/500 by the artist lower right, 40 x 58 cm, framed and glazedQTY: (1)NOTE:The saxophone soloist is President Clinton, among the string section are David Trimble, John Hume, Gerry Adams et al, with Ian Paisley Sr on the bass drum, etc.; and in the audience are those who have contributed to 'The Peace Process' including Bertie Ahern, Nelson Mandela, Mo Mowlam, Tony Blair and Peter Mandelson. The first edition comprised 1,000 signed and numbered copies, likewise with facsimiles of all the autographs except the artist.

Meade-Waldo (Ada Coralie, 1861-1939). A photographically illustrated autograph album belonging to Coralie, c. 1902-07, containing mounted photographs and numerous signatures on rectos and versos of 21 stiff card leaves, a few pen and ink and watercolour sketches and other ephemera inserted, the autographs largely of country house gentry with addresses identified including Perrys Field House, Oxted, Surrey, Foliejon Park, Windsor, The Vicarage, Oakham, Dove Cliff, Burton-on-Trent, Middleton Hall, Driffield, Cuffnells, Lyndhurst, with autographs of Alice Pleasance Hargreaves, Caryl, Alan and Florence Hargreaves on the same page, plus photos of a cricket match played at Stonewall in 1904, a few photographs of pig sticking in Morocco, etc., remaining leaves blank, a few remaining items loosely inserted including an Alice in Wonderland silk doily and 3 Orders of Service relating to Ada and other members of the family, all at St Peter's Church, Hever, Kent, all edges gilt, contemporary diced black calf gilt, gilt-lettered 'Coralie' to upper cover, a little rubbed, 4toQTY: (1)NOTE:Alice Pleasance Hargreaves (1852-1934) was born Alice Liddell, who, in her childhood was an acquaintance and photography subject of Lewis Carroll, and the inspiration for his Alice books. Alice married Reginald Hargreaves, a cricketer, on 15 September 1880.

Murder broadsides. The Trial and Execution of Thomas Attrell, circa 1833, broadside, small marginal chip and a few nicks, 38 x 21.5 cm, together with An Account of a Most Shocking Murder Committed by Charlotte Lawson on her Mistress, by beating her Brains out with a Brick-bat, and afterwards cutting her to pieces, London: Smeeton, printer, circa 1835, broadside, a little light toning, 25.5 x 19 cm, plus Barbarous and Awful Murder, committed upon the body of Mrs Elizabth Wood, near the City of Chester, by her own Son, who Cut her Throat from ear to ear. How the Murder was found out by the apparition of her Ghost, for which he was Tried, Executed & ordered to b Hueng in Chains neae the spot, circa 1835, broadside, a few small closed marginal tears, 37.5 x 24.5 cm QTY: (3)

* Northampton. A collection of 13 broadsides and other publications, 1795-1836, including At a Meeting of the Standing Committee of the Inhabitants of the Town of Northampton, held at the Peacock Inn, the 12th June, 1795. Resolved, that the Mayor and Corporation have thought it proper to lay before the public their resolutions of the 8th instant... of preserving the Peace of the Town..., 4 pp., old folds, folio 33.5 x 21 cm; Northampton, 22 March, 1798. The Inhabitants of this Town and Neighbourhood who wish to enroll themselves in the Volunteer Corps now associating for assisting the Executive Government at this Alarming Crisis... single sheet,15.5 x 19 cm; Royal British System of Education. The King, the Patron of Education, and Friend of the Poor. Joseph Lancaster, Inventor and Superintendent of the Plan for Educating Poor Children, under Patronage of the King, Queen, the Prince of Wales, and Royal Family intends to Deliver a Lecture on his New and Original System of Education... November 1810, single sheet, 17 x 21 cm, plus others, i.e. The Oath of a Freeman of the Town of Northampton, Copy of a Petition to His Majesty for a New Charter, The Select Committee for Superintending the Management of the Soup House, in Northampton, Prospectus for Forming a Company to Supply the Town of Northampton with Water, together with other ephemera including Lady Augusta Leith, a manuscript receipt for the purchase of items of clothes, 1814, a census, circa 1790 of persons over 21 in Westminster (with names written in manuscript, a tax return 1860-61, Services at Stow Parish Church on the Coronation Day of King Edward VII and Queen Alexandra, June 26, 1902, and six ninteenth-century indentures, deeds, etc.QTY: (24)

* Wallis (Barnes Neville, 1887-1979). Autograph Letter Signed, 'Barnes', Scawfell Hotel, Rosthwaite, near Keswick (on embossed Whitehill House, Effingham, Surrey letterhead), Whit Sunday, 20 May 1945, to Leo describing his fatigue at the end of the war, 'It was not until I had had time to relax that I realised how utterly tired out I was, and have been for some time. For the past year I have had to force myself to go on; and I must have been as near a crash as one would care to go. Fatigue seems to have been sweeping over me here in waves - but, thank God, I seem to have unbent the bow in time, and sleep as I have not done for 25 years!', saying that his wife Molly has been a brick in looking after him and how much joy they get in hill walking, then continuing to say that he has started to design a cathedral, 'Don't laugh at me, my dear Leo - you and Molly are the only people who will hear of it. It is a mental safely valve. I am no painter, musician or author, but express beauty somehow one must, and a cathedral is the logical outcome of many complex psychological experiences. I am also certain that it can never be built, so that is a very harmless vanity... ', continuing at some length about this project, a total of 8 pages on 4 leaves in a large clear hand, 4toQTY: (1)NOTE:An interesting and intriguing insight into the mind of the clearly exhausted, but now recovering, mind of the 'bouncing bomb' inventor. The correspondent was his friend Leo d'Erlanger.

Luynes (Honoré Théodore Paul Joseph d'Albert duc de). Voyage d'exploration à la mer Morte, à Petra, et sur la rive gauche du Jourdain, 4 volumes (including atlas), Paris: Arthus Bertrand, [1868-74], half-titles, 99 plates & maps (a few double-page), untrimmed & uncut, spotting (light & mostly confined to margins), original blue paper wrappers, atlas volume rebacked with black cloth (with later ties), lightly rubbed & marked, folioQTY: (4)NOTE:Hannavy, Encyclopedia of Nineteenth-Century Photography I pp. 982-5 (Nègre); Parr & Badger I p. 33; Röhricht 2824 (calling for only 86 plates).An excellent complete set of this scarce expedition in bright original condition, chronicling Palestine, Lebanon, Jordan and Syria. The atlas volume contains 64 photogravures providing one of the earliest photographic records of the region.'This rare book is closely connected with an important event in the development of photobook production, and with a unique photographic competition. In 1856 Honoré Albert, Duc de Luynes, archaeologist, scientist and connoisseur, initiated a competition ... to find the best method of photomechanical reproduction ... Rather than choosing the eventual winner of the competition [Alphonse Louis Poitevin] to make the photomechanical reproductions of [Louis Vignes's] negatives [from the Dead Sea expedition], the Duc selected Charles Nègre, who had also been shortlisted for the prize. Nègre had developed a photogravure method that produced beautiful prints ... [and] improved [Vigne's negatives] considerably ... The book ... remains one of the finest photomechanically printed books of the era' (Parr & Badger).

Nashe (Thomas, 1567-c.1601). A sammelband of 7 works, 1592-1600, comprising, in order: Nashes Lenten Stuffe, Containing, The Description and first Procreation and Increase of the towne of Great Yarmouth in Norffolke, 1st edition, 1599; Haue with you to Saffron-Walden. Or, Gabriel Harueys Hunt is vp, 1st edition, 1596; Pierce Penilesse His Supplication to the Diuell, 1593; Strange Newes, Of the intercepting certaine Letters, and a Conuoy of Verses, as they were going Pruilie to victuall the Low Countries, 1592; The Terrors of the night Or, A Discourse of Apparitions, 1st edition, 1594; [Attributed to John Lyly], Pappe with an hatchet. Alias, A figge for my God sonne, [1589]; A Pleasant Comedie, called Summers last will and Testament, 1600; all first or early edition issues published in London, all edges gilt, early 19th-century gilt-tooled calf, rebacked with original spine relaid, 4to (177 x 123 mm)QTY: (1)NOTE:Additional material bound in:A small portrait frontispiece of Nashe is mounted as frontispiece before the first title (19th-century reproduction from a 1597 original). At the start of the volume is a 4-page manuscript list of Nashe's works with notices of biographical accounts, written in a neat hand, probably by Robert Reeve, on laid paper with watermark of 'A. Smith'; a later manuscript note tipped in noting an account of Nashe's 2 plays published in the Retrospective Review for April 1828; this article copied in a neat contemporary hand and supplied on 3 part-folding pages at rear; a 4-page manuscript, in the same hand and on the same paper as the first list, giving a list of the volume's contents ('These have been long bound together in the same order'), and details of Nashe's works owned by the King's Library (24 items), the Marquis of Stafford (7 items), the Malone collection ('The Tragedie of Dido... by Christopher Marlowe and Thomas Nash Gent 1594'), the Garrick collection (Summers Last Will and Testament), the British Museum (6 items as referenced by Beloe's Anecdotes) and a final note by Reeve that 'Nash also wrote a play called "The Isle of Dogs” turned from a comedie into a tragedie. But it does not appear to have been printed.'Provenance: Thomas Smyth (possibly Sir Thomas Smyth of Hill Hall, Essex, c. 1602-1668): early name inscription to second title; Robert Reeve (died 1840), attorney-at law in Lowestoft, Suffolk: ownership inscription to front pastedown: ‘Robert Reeve, Lowestoft’; J[eremiah] J[ames] Colman (1830-1898) and his son Robert James Colman (1861-1946), of the J. & J. Colman mustard business, Norwich, Norfolk: armorial bookplates to front pastedown and front free endpaper.An extraordinary, and possibly unique, sammelband of rare works by the legendary prose writer Thomas Nashe. The only comparable items identified are a handful of multi-pamphlet volumes offered at auction centred on John Lyly and the Marprelate controversy. This collection of seven works was apparently bound by the former owner Robert Reeve, circa 1820, who notes that the items had been together in this order long since before he owned them. The missing two leaves in the final work are supplied in printed ‘facsimile’ and appear to have been specially set by Reeve at the time of binding; as such these two leaves are probably unique. For more information concerning editions and issue points the standard reference is the 5-volume works edition edited by Ronald B. McKerrow, 1904-10, with extra information obtained from ESTC, STC and Pforzheimer.Thomas Nashe (or Nash) was an Elizabethan playwright, poet, satirist and pamphleteer. He is often considered the most brilliant and inventive prose writer of Elizabethan England. His subject range was wide as demonstrated in these seven works here. It is thought he collaborated with his friend Christopher Marlowe on Dido, Queen of Carthage, Ben Jonson on The Isle of Dogs (now lost) and Shakespeare on the Henry VI plays. In pamphlets such as Pierce Penniless he was involved in a defence of the Church of England. He was attracted to the Martin Marprelate controversy by his hatred of puritanism, being employed by the bishops to write against the works of fictional character Martin Marprelate. His lengthy and vicious quarrel with Gabriel Harvey was instrumental in defining English prose style and became so troubling that the authorities closed down the printing presses and issued a life ban on writing to both Harvey and Nash (1599).Nashes Lenten Stuffe (1599) was Nashe’s last work and written after he went on the run from the London authorities following the furore surrounding a performance of his and Ben Jonson’s Isle of Dogs (1597). Have with You to Saffron-Walden was a response to Gabriel Harvey during their lengthy feud. Pierce Penniless contains an attack on both Richard Harvey, the astrologer and the Marinist, who, as part of the Marprelate controversy, had been waging a pamphlet war attacking the episcopacy of the Anglican church. Strange Newes contains Nashe’s fierce response to Harvey’s demolition of the recently deceased writer, Robert Greene. In The Terrors of the Night Nash sceptically considers dreams, nightmares, and apparitions, which he considers born of superstition, melancholy or imagination. Pappe with a hatchet is now believed to have been written by John Lily, though its inclusion here leaves open the idea that Nashe may have had some involvement in it, and besides it is one of the pamphlets in the Marprelate controversy. The last item, Summer’s Last Will and Testament, is Nashe’s only extant solo-authored play, a comedy notable for breaking new ground in the development of English Renaissance drama.For the unabridged description with full details of each individual work please see the virtual catalogues and description on our website.

[Rastell, William]. A Table Collected of the yeres of our Lord God, and of the yeares of the kings of England, from the first yeare of William Conquerour: shewing how the yeares of our Lord God, and the yeares of the Kings of England concurre and agree together, by whiche Table it may be quickly accompted, how many yeares, moneths & dayes be past, since the making of any evidences, instruments, or writings, that have their dates of the yeres of the kinges reignes, and not dates of the yeres of our Lord God. And also it shal be redily seene, in what yeare of our Lord God those evidences, Instruments, or wrytings were made, Imprinted at London by [H. Middleton? for] John Waley, 1571, A-L8, black letter text, large woodcut to verso of title depicting God the Father and the Holy Ghost, and Mary (?) carrying the Cross, minor loss to lower blank fore-margin of title, not affecting text, final leaf of text with printer's imprint: Ex officina Joannis Waley Typographi. Anno a virgineo partu M.D.LXXI Mens. Martii, and woodcut device of a maiden and figure of death, generally a clean copy, with 65 pages of additional manuscript chronology in brown ink at end (from 1577 to 1771), and a further 19 blank leaves, inkstamp of Cornwell House to front endpaper, 18th century full calf gilt, rubbed and minor wear to head and foot of joints, small 8vo (textblock 14 x 8.5 cm)QTY: (1)NOTE:STC 20738; EEBO 0018. An edition of William Rastell's A table collected of the yeres of our Lorde God, and of the yeres of the kynges of England, from the fyrst yere of William Conquerour, first published in 1558. William Rastell (1508-1565), English printer, lawyer and man of letters, who edited the works of his uncle, Thomas More. He rose to the position of treasurer at Lincoln's Inn in 1549 but was forced to go into exile at Leuven by the Protestant policies of Edward VI. He returned to England following the accession of Queen Mary in 1553, going into exile once again in 1563.

Restoration Drama. A two-volume sammelband of 15 Restoration-era plays by Thomas Shadwell, John Dryden and Nathaniel Lee, Roger Boyle, Aphra Behn, Nathaniel Lee, William Mountfort, Joseph Banks, Nahum Tate, John Lacy, John Crowne, Edward Ravenscroft and Richard Brome, the majority 1st editions, 1670-1690, occasional browning (particularly to the first work of the first volume), some light spotting and marks (the majority of the contents generally in clean condition), later ink stamp of Cornwell House to front endpaper of each volume, contemporary uniform sprinkled full calf, gilt decorated spines, each volume titled in gilt Plays 1 and Plays 2, rubbed and some marks with short splits to head and foot of joints, small 4toQTY: (2)NOTE:Contents: Volume I: Nathaniel Lee, The Massacre of Paris: a Tragedy. As it is acted at the Theatre Royal by her Majesties Servants, 1st edition, London: printed for R. Bentley and M. Magnes, , 1690, [4],52,[4]pp.(A2,B-H4); Aphra Behn, The Young King: or, The Mistake. As 'tis acted at his Royal Highness The Dukes Theatre, 1st edition, London: printed for D. Brown, at the Black Swan, T. Benskin, and H. Rhodes, 1683, [6],63,[1]pp.; Roger Boyle, Earl of Orrery, Mr. Anthony. A Comedy as it is acted by their Majestie's Servants. Never before Printed, 1st edition, London: printed for James Knapton, 1690, [4], 51, [1], b4 with slight loss to upper outer corner (affecting several words); John Dryden & Nathaniel Lee, The Duke of Guise. A Tragedy. Acted by their Majesties Servants, 1st edition, London: printed by T. H. R. Bentley and J. Tonson, 1683, [8], 76, [4]pp. (A-L4); William Mountfort, The Injur'd Lovers: or, The Ambitious Father. A Tragedy. Acted by their Majestie's Servants at the Theatre Royal, 1st edition, London: printed for Sam. Manship, 1688, [8], 72pp. (A-K4); [Aphra Behn], Romulus and Hersilia: or, The Sabine War. A Tragedy acted at the Duke's Theatre, 1st edition, London: printed for D. Brown, and T. Benskin, 1683, [4], 62, [2]pp. ([A]2,B-I4); John Banks, The Island Queens: or, The Death of Mary, Queen of Scotland. A Tragedy. Publish'd only in Defense of the Author and the Play, against some mistaken Censures, occasion'd by its being prohibited the Stage, 1st edition, London: printed for R. Bentley, 1684, [6], 70pp. ([A],B-I4,K3); Thomas Shadwell, Epsom-Wells, A Comedy, acted at the Duke's Theatre, London: printed by J. M. for Henry Herringman, 1676, [6], 96pp. (A3,B-N4,N3); Thomas Shadwell, The Sullen Lovers: or, The Impertinents. A Comedy, acted by His Highness The Duke of York's Servants, 1st edition, London: printed for Henry Herringman, 1670, [12], 76pp. (A-L4).Pforzheimer 591; Wing 853 (Massacre of Paris); Wing B1776 (The Young King); Wing 0487, ESTC R22129 (Mr Anthony); D2264 (The Duke of Guise); Wing M2974, ESTC R11790 (The Injur'd Lovers); Wing S878 (The Island Queens); Wing S2879 (The Sullen Lovers).Volume II: Nahum Tate, The Ingratitude of a Common-Wealth: or, The Fall of Caius Martius Coriolanus. As it is acted at the Theatre Royal, 1st edition, London: printed T. M. for Joseph Hindmarsh, 1682, [8], 64pp. (A-I4); Thomas Shadwell, The Squire of Alsatia. A Comedy, as it is acted by their Majestie's Servants, 1st edition, London: printed for James Knapton, 1688, [8], 88pp. (A-M4); John Lacy, The Old Troop, or, Monsieur Raggou. As it was acted at the Theatre Royal, 1st edition, London: printed for William Crook and Thomas Dring, 1672, [8], 62, [2]pp. (A-I4); Thomas Shadwell, The Humorists. A Comedy. Acted by his Royal Highnesses Servants,1st edition, London: printed for Henry Herringman, 1671, [18], 78, [2]pp.(3 leaves unsigned, a4,b2,B-L4); John Crowne, City Politiques. A Comedy. As it is acted by his Majesties Servants, 1st edition, London: printed for R. Bently, and Joseph Hindmarsh, 1683, [8], 79, [1]pp. (A-L4); Thomas Shadwell, The Virtuoso. A Comedy, acted at the Duke's Theatre, 1st edition, London: printed by T. N. for Henry Herringman, 1676, [6], 88, [2]pp. (A-M4); Edward Ravenscroft, The Citizen Turn'd Gentleman. A Comedy. Acted at the Duke's Theatre, 1st edition, London: printed for Thomas Dring, 1672, [8], 108pp. (A-O4,P2); Richard Brome, The Northern Lass. A Comedy. As 'tis acted at the Theatre Royal, London: printed for D. Newman, 1684, [4], 68pp. (A2 B-I4,K2).Wing T190, ESTC R3412 (The Ingratitude of a Common-Wealth); Wing S2874, ESTC R11237 (The Squire of Alsatia); Wing L144A (The Old Troop); Wing S2851, ESTC R21339, Pforzheimer 873 (The Humorists); Wing C7378 (City Politiques); Wing C7378 S2883A (The Virtuoso); Wing M2383A (The Citizen Turn'd Gentleman); Wing B4879 (The Northern Lass).A rare collection of first edition restoration dramas bound in a contemporary binding, which includes Thomas Shadwell's first play The Sullen Lovers (loosely based on Moliere's Les Facheux, first published in 1662, and more loosely Le Misanthrope, first published in 1666), and the two plays regarded as Shadwell's best: Epsom Wells (1672), and The Squire of Alsatia (1688). Aphra Behn's The Young King is a scarce 1683 first edition of a play which was first performed in 1679, and according to ESTC is partly based on Gaultier de Coste's Cleopatre and Calderon's La Vida es Sueno. This copy contains two additional lines at the end of the prologue which are not present in the online version of the text provided by EEBO (though the final line is trimmed with partial loss of the text). The two lines read: 'Heaven bless the King but keeps the Land in peace / Or he'll be sweetly served by such as these'. Nahum Tate's The Ingratitude of a Common-Wealth is an adaptation of Shakespeare's Coriolanus, while Edward Ravenscroft's The Citizen Turn'd Gentleman is an adaptation of Moliere's Bourgeois Gentihomme and Monsieur de Pourceaugnac.The Injur'd Lovers is the first published play by the actor and dramatist William Mountfort (1664 – 10 December 1692), who was ambushed and murdered in Howard Street, Strand by the adventurer Captain Richard Hill, on the 9th December 1692. Captain Hill had perceived Mountfort to be his rival in love for Mrs. Anne Bracegirdle, an actress who first performed the role of Antelina in The Injur'd Lovers and had been annoyed by the captain's persistent attentions. Aided by the politician and rake Charles Mohun, 4th Baron Mohun, Mountfort was stabbed in the chest by Hill, and died of his wounds the following day. Following the attack Hill fled to France, while Lord Mohun was tried by his peers and (perhaps not surprisingly) acquitted by a vote of 69 to 14.

Ross (George). The Cape of Good Hope Calendar, and Agriculturist's Guide; containing a correct account of all the public offices, military forces, and other establishments in that colony. Together with a brief description of its soil, agriculture and commerce. Intended for the use of those persons who may become settlers, 1st edition, London: T. & J. Allman, 1819, early ownership inscription to contents page upper margin, lacking the map, light soiling and browning, endpapers renewed, original publisher's boards, untrimmed, rebacked with printed title label on spine, boards stained & worn at corners, 8voQTY: (1)NOTE:Extremely rare first edition of this guide for emigrants to South Africa, compiled by Superintendent of the Government Press in that Settlement, George Ross. Unrecorded in Mendelssohn and only two copies appear on WorldCat (Cambridge University and National Library of South Africa). A third copy (or one of the same two) is listed in auction records as having sold at Christie's in 2004.

Tate (Nahum). Panacea: a poem upon tea: in two canto's, 1st edition, London: printed by and for J. Roberts, 1700, [16], 34, [6] p., with two leaf postscript at end present, some toning throughout, marbled endpapers with engraved armorial bookplate of 'The Right Honble. Patrick Hume, Earl of Marchmont, Viscount of Blasonberry, Lord Polwarth of Polwarth & Lord High Chancelor of Scotland 1702', verso of rear free endpaper with late 19th/early 20th-century bookseller's label for Brentano's Booksellers & Stationers of New York, all edges gilt, contemporary gilt panelled and decorated maroon morocco, modern reback with gilt decorated spine, board corners a little worn and showing, 8vo (20.6 x 12.7 cm)QTY: (1)NOTE:ESTC R14677; Wing T202.Nahum Tate (1652-1715), an Irish writer who became poet laureate in 1692. His introduction describes the uses and benefits of tea for different professions. The first canto describes the mythic origins of tea in China as told by a shepherd named Palomon. The second canto departs from historical fact by transplanting tea to classical Greece. The poem finishes with the word ‘THEAE’ a transliteration of the word into the Greek alphabet, anthropomorphising the plant as a classical goddess, serving to appropriate and domesticate the Chinese plant and promote tea consumption in the West.

Laroon (Marcellus). The Cries of London in six parts, being a collection of seventy two humurous prints drawn from the life by that celebrated artist Laroon, with additions & improvements by L.P. Boitard, London: R.H. Laurie, 1821, 72 engraved plates (including titles), most plates captioned in English, French & Italian, small ownership ticket of Dr. Lucien Graux (1878-1944) to front pastedown, hinges broken with text block loose, spotted & dust-soiled, late 19th-century half calf, rubbed, folioQTY: (1)NOTE:Colas 1795.Provenance: Dr Lucien Graux was a resistance worker who was arrested in Paris by the Gestapo in June 1944. He was sent to Dachau where he was murdered in October 1944. His library was auctioned in Paris in several sales in the 1950s.

Bindings. The Holy Bible, containing the Old and New Testaments..., Oxford: Printed at the University Press by John Collingwood and Co., 1841, together with The Book of Common Prayer... together with the Psalter or Psalms of David..., Oxford: Printed at the University Press by Samuel Collingwood and Co., 1840, bound with The Whole Book of Psalms, collected into English Metre, by Thomas Sternhold, John Hopkins, and others..., Stereotype edition, Oxford: Printed at the University Press by Samuel Collingwood and Co., 1840, front pastedowns of both volumes with bookseller's label of W. Pritchard of Carnarvon, all edges gilt, uniform contemporary elaborately gilt decorated red straight-grain morocco, covers to Bible a little scratched (mostly upper cover), large 8vo and 8vo (25.1 x 16 cm & 22 x 13.5 cm respectively)QTY: (2)NOTE:Both volumes with tipped-in presentation inscription 'Presented to Robert Thomas by the family of Glynllison who feel sincere regard for him for his long tried and faithfully services, Sunday May 21st 1843'

Salmon (William). Palladio Londinensis; or, the London Art of Building, in three parts, 4th edition, with great alterations and improvements, by E. Hoppus, Surveyor to the Corporation of the London Assurance, London: printed for S. Birt, T. Longman, C. Hitch, J. Oswald and others, 1752, 52 engraved plates, some folding, one or two closed tears and repairs, a few frayed fore margins, contemporary calf, some wear with joints cracked, 4to, together with[Carter, John]. The Builder's Magazine: or, Monthly Companion for Architects, Carpenters, Masons, Bricklayers, &c. as well as for every gentleman who would wish to be a competent judge of the elegant and necessary art of building, consisting of Designs in Architecture... by a Society of Architects, 1st edition, volume 1 only (of two), London: printed for the Author; and sold by F. Newbery, 1774, 75 engraved plates, including several folding and one-coloured, title laid down with some soiling and tears, water stain to first few leaves, contemporary calf-backed boards, some wear, 4to, plus 3 others: B. & T. Langley's The Builder's Jewel, 10th edition, 1763, William Pain's The Practical House Carpenter, 6th edition, 1799, and Batty Langley's The Builder's Director or Bench-Mate, circa 1792 (covers detached)QTY: (6)NOTE:Harris 796; 67; 436; 656; 430 respectively. The complete work contains 185 plates.

Perkins (Richard). British Warship Recognition, The Perkins Identification Albums, 4 volumes (volumes 1, 2, 3 part 1, 4 part 2), 1st editions, Barnsley: Seaforth, 2016-17, numerous colour illustrations, all original cloth in dust jackets, spines very lightly rubbed to the head, folio, together with:Pen & Sword, publisher, Voices in Flight: The Royal Naval Air Service during the Great War, by Malcolm Smith, Barnsley, 2014, The War on Hospital Ships 1914-1918, by Stephen McGreal, 2008, The Territorials 1908-1914, a guide for military and family historians, by Ray Westlake, 2011, Battle on the Aisne 1914, the BEF and the birth of the Western Front, by Jerry Murland, 2012, all 1st editions, numerous monochrome illustrations, all original cloth in dust jackets, 8vo, plusKen Trotman, publisher, The Personal Narrative of a Private Soldier who served in the Forty-Second Highlanders for twelve years, during the late war, Cambridge, 1996, original gilt decorated red cloth, 8vo, and other military reference, all original cloth, some in dust jackets, G/VG, 8vo/folioQTY: (6 shelves)

* Flora of Oxfordshire. A collection of approximately 250 botanical illustrations, 1950s, pencil and watercolour on paper or thin white card, most captioned in pencil with Latin nomenclature, location, and date of composition, various sizes, some with residue from tape or glue at head to versos from when previously hinge-mounted, the largest sheet size 28.5 x 20 cmQTY: (approximately 250)NOTE:The illustrations were drawn by botanist W.L. Theobald, of Bladon, Oxfordshire, who combed the country looking for specimens, some of which are recorded here. The proceeds will be donated to an Oxfordshire hospice for children and young adults.

Game (MB Games)-'Guess Who?'-Complete-The Mystery Face Game'- 2 players- 6 years and up-play worn-box and cards -but other wise very good

Historic 19th century licences (3) Norwich, m/s City of Norwich and county of the same City granting of a License by William Wilde with m/s amendment for 1837, by the Justice at a petty session, Norwich 1838 m/s City of Norwich and County of the Same City Justices of the Peace giving Notice of a Special Session Justices called 'The General Annual Licensing Meeting at the Guildhall for granting Licenses for keeping Inns, Alehouses etc., for consumption on the premises (Amended for 1849 and 1858), written up and Britannia watermarked paper and Norwich - Another m/s General Annual Licensing meeting with dates blank, requiring applicants to affix to a Church and Chapel door a notice of the Day, hour and place of Licensing meeting to be held… Also at the home of every Justice Dwelling of the said City and County and of every Inn Keeper not already licensed who has given notice of his intention to keep an Inn and apply for a Licence. Dated 1837, a well written folio on Britannia watermarked paper. (3)

Corgi a boxed pair of Signed TV Related TY96203 "Doctor Who 40th Anniversary Gift Sets - 1963 to 2003" with each gift set comprising of 7 x models and each one is signed to the front by "Tom Baker" and each one comes with a certificate of authenticity which was issued by "Grand Prix Legends" and each gift set is limited to 2000 pieces. Both certificates of authenticity are verified present inside the boxes. Conditions of contents are Mint in Good outer pictorial boxes. (2)

Photography of António da Silva Porto (1850-1893)Photography on paperWith inscription to the back "Lisbon on June 3, 1893 the Great Painter Silva Porto who, at the Academy of Fine Arts, was my father's teacher, F. Mamutty(?)"25,5x16,5 cm

Robert Vonnoh (American, 1858-1933). Impressionist oil on canvas laid board painting titled "Village Church," depicting a small village nestled amongst lush green hills with a small stream curving through the fields. Signed along the lower right; titled along the verso.Lot Essay:Robert Vonnoh was one of the first American artists to bring European Impressionism to the United States. A celebrated Impressionist landscape and portrait painter and a respected teacher, Vonnoh influenced many American artists. His students included William Glackens, Robert Henri and John Sloan, who would later form the influential Ashcan school.Vonnoh was born in Hartford, Connecticut and studied at the Massachusetts Normal Art School, following his practice at the public schools with a lithography shop. Upon graduation, he started his teaching career at his alma mater and shared his pioneering artistic skills at multiple other institutions that include Roxbury Evening Drawing school, East Boston Evening Drawing School, the Cowles Art School, the School of the Museum of Fine Arts in Boston, and the Pennsylvania Academy of the Fine Arts in Philadelphia.In 1881, Vonnoh made the first of many trips to France and enrolled in the Academi Julian in Paris. Studying under Gustave Boulanger and Jules-Joseph Lefebvre, he continued improving upon his artistic skills, fully immersing himself into the prestigious art scene of Paris. After two years, he returned to his teaching career in Boston. Shortly after his marriage to his first wife Grace D. Farrell, he returned to live and work in France between 1887 and 1890.Settling in Grez, France, he began exploring the revolutionary technique of impressionism, which later became his representative style. Between 1887 and 1890, his adoption of the impressionistic aesthetic peaks in his paintings; however, like most American artists' works, his paintings do not show the complete dissolution of forms into pure light and color as is echoed in the works of his French counterparts. Many of his paintings at this time were accepted into the Paris Salon; others were sent to the U.S. for exhibitions. Vonnoh returned to the U.S. in 1891 and continued his teaching career at the Pennsylvania Academy of the Fine Arts, until 1894, with notable students in Robert Henri, William Glackens, and Maxfield Parrish. He remarried in 1899 to an American sculptor Bessie O. Potter after his first wife's death. Beginning in 1906, Vonnoh spent summers in Old Lyme, CT, where he became one of the leading figures of the art colony there. He also returned to France on a regular basis and finally moved there in 1922 where he resided until his death in 1933.Sight; height: 11 1/2 in x width: 15 in. Framed; height: 17 in x width: 21 in.

Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph depicting a lone boat with three passengers punting through a misty waterfront. Silver gelatin print. Signed along the lower right.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1980s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 13 5/8 in x width: 10 1/8 in. Matted; height: 20 in x width: 16 in.

Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph depicting a stairway through a cloudy mountain pass. Silver gelatin print. Hand signed to the backing along the lower right.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1980s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 14 1/4 in x width: 10 in. Matted; height: 20 in x width: 16 in.

Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Symbol of Longevity," executed in 1943, depicting a crane under a gnarled tree with dramatic mountain peaks in the background. Silver gelatin print. Hand signed to the backing along the lower right of the photograph.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In 1980s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 14 1/4 in x width: 10 in. Matted; height: 20 in x width: 16 in.

Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Spring Fantasia," executed in 1945, depicting a boat floating through mist behind the dramatic silhouette of branches. Silver gelatin print. Signed in ink along the lower right.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In 1980s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 13 1/2 in x width: 10 in. Matted; height: 20 in x width: 16 in.

Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph depicting a nude woman reclining against a boulder in a wooded environment. Silver gelatin print. Titled and dated 1950 along the verso.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In 1980s, he arranged an exhibit for Chin San Long's photography in Minnesota.Height: 15 in x width: 12 in.

A framed and glazed Earth Wind And Fire presentation 'silver' disc for the Album 'Faces', B.P.I certified. Presented to Joe Ruffalo who with Bob Cavallo managed Earth Wind And Fire 1972-83. Approx 52cm x 42cm.

A first UK pressing of 'The Who Sell Out' 612 002, scratches on both sides.

Two first UK pressings of the 'My Generation' LP by The Who, LAT8616 on the Brunswick label. One record is Ex, the other has a couple of hairline scratches. Both sleeves are tired and worn with some split, tears and staining.

Ptah-Sokar-Osiris. Egypt, Ptolemaic period, 332-30 BC.Sycamore wood.Measurements: 39 x 10 x 8 cm.Mummiform figure representing Ptah-Sokar-Osiris. The fusion of three gods (in reality, three manifestations of a single god) into one is known in Egyptology as syncretism. The three forms of appearance are united, although without each losing its individuality. Ptah is the ancient god of the first capital of unified Egypt: Memphis. Patron of craftsmen, he was also a demiurge god (creator of the universe), according to Memphite doctrine. The importance of his influential clergy did not wane throughout the Pharaonic period. For his part, Sokar is a funerary god (an emanation of Osiris in the Memphite necropolis, specifically in the area of Sakkara). Finally, Osiris is the god of the dead par excellence, his main epithet being khentyamentyu, "he who presides over the westerners", i.e. the dead. These statues were placed in the burial chamber next to the sarcophagus, with a clear protective and regenerative intention.

Two-handled impasto vessel from the Villanovan culture, 750-650 BC.Terracotta.Provenance: private collection, Cannes, France.It has a small indentation on the lip.Measurements: 13.5 cm.Terracotta piece belonging to the Villanovan culture, characterised by the bulb-shaped base of the body and the presence of two large handles. The Villanovan culture is a civilisation that developed in northern Italy in the Iron Age, in the region where the Etruscan culture would later emerge. It has its origins in the Indo-European peoples who arrived on the Italic Peninsula around 1200 BC, merging with the pre-Indo-Europeans already settled there.

Ushebti; Egypt, New Empire, 1526-1070 BC.Fayenza.It has faults.Measurements: 10.5 x 4.5 x 3 cm.The ushebtis, an Egyptian term meaning "those who answer", are small statuettes which, in Ancient Egypt, were placed in the tombs as part of the funerary trousseau of the deceased, and whose function was to replace him in the work he had to carry out in the Afterlife. Most were made of ceramic, wood or stone, although in the richest tombs they could be found carved in lapis lazuli. The oldest surviving examples come from the Middle Kingdom, although references to them can be found in texts from the end of the Old Kingdom. After the sacred scarabs, ushebtis are the most numerous and possibly the most characteristic pieces of Egyptian art that have survived to the present day. Throughout the ages they have always had the same function in the religious sphere, but while during the Middle Kingdom they were conceived as a representation of their owner before Osiris in the work of tilling the kingdom of the shadows, replicas of the deceased, from the New Kingdom onwards they came to be seen as his servants or slaves, and were produced in large numbers.

Ushebti; Egypt, Ptolemaic period, 323-30 BC.Green faience.It shows superficial wear and loss.Visible inscription.Measurements: 9 x 3 x 2 cm.The ushebtis, an Egyptian term meaning 'those who answer', are small statuettes which, in Ancient Egypt, were placed in tombs as part of the funerary trousseau of the deceased, and whose function was to replace him in the work he had to carry out in the Afterlife. Most were made of ceramic, wood or stone, although in the richest tombs they could be found carved in lapis lazuli. The oldest surviving examples come from the Middle Kingdom, although references to them can be found in texts from the end of the Old Kingdom. After the sacred scarabs, ushebtis are the most numerous and possibly the most characteristic pieces of Egyptian art that have survived to the present day. Throughout the ages they have always had the same function in the religious sphere, but while during the Middle Kingdom they were conceived as a representation of their owner before Osiris in the work of tilling the kingdom of the shadows, replicas of the deceased, from the New Kingdom onwards they came to be seen as his servants or slaves, and were produced in large numbers.

Lucerne with the image of Medusa. Rome, 2nd-3rd century AD.Terracotta.Provenance: private collection, Bordeaux.In good state of preservation.Measurements: 10.5 cm.Roman lucerne in terracotta whose body is decorated with the head of Medusa, a female chthonic being who turned into stone those who looked at her fixedly in the eyes. The word lucerna comes from the Greek "lukno". Its basic function was to provide light, but it was also used as a votive and funerary element. The first lanterns were made by hand, then by lathe, and from the 3rd century BC onwards by mould.

Ushebti; Egypt, Lower Egypt, 664-332 BC.Fayenza.It has losses in the glaze.Measurements: 19 x 5 x 3.5 cm.Ushebti in faience that has lost part of its turquoise-green glaze, wearing a wig and false beard, holding a pickaxe and hoe. The lower part has inscriptions taken from chapter six of the Book of the Dead, as is usual in this type of piece.Ushebtis, an Egyptian term meaning 'those who answer', are small statuettes that, in ancient Egypt, were placed in tombs as part of the grave goods of the deceased, and whose function was to replace the deceased in the work to be carried out in the afterlife. Most were made of ceramic, wood or stone, although in the richest tombs they could be found carved in lapis lazuli. The oldest surviving examples come from the Middle Kingdom, although references to them can be found in texts from the end of the Old Kingdom. After the sacred scarabs, ushebtis are the most numerous and possibly the most characteristic pieces of Egyptian art that have survived to the present day. Throughout the ages they have always had the same function in the religious sphere, but while during the Middle Kingdom they were conceived as a representation of their owner before Osiris in the work of tilling the kingdom of the shadows, replicas of the deceased, from the New Kingdom onwards they came to be seen as his servants or slaves, and were produced in large numbers.

[SLAVERY] HAMILTON (Sir William) 2 pp. (with integral leaf), foolscap, old horizontal repair, a.l.s. in a secretarial hand, signed by Hamilton, Naples, 1st March, 1769, to the Marquis Tanucci, concerning a Sicilian, Alleria, who had escaped from ten years of slavery in Tripoli.

[TITANIC / BINDING] BRAY (Stanley) The Final Story of the Titanic Omar, sm. folio, col. photos, card covers, numbered 24/100 copies & signed by Stanley Bray (of Sangorski & Sutcliffe, who reproduced the famous binding that went down with the Titanic), card covers, Esher, Penmiel Press, 1990.

Football autographs, Leyton Orient, 1955/56 season (3rd Division (South) Champions), selection of signatures on team pictures, cut-outs & album pages, personally collected by vendor at the Club training ground, sold with a Daily Express fully signed Team Card of Brighton & Hove Album who finished runners-up to Leyton Orient in the same season (some with selloptape marks, fair/gd) (1 packet)

Horseracing enamel badges, Royal Ascot Iron Stand, believed to be a stand designated for Divorcees who previously used to attend the Royal Enclosure, 3 badges each with original cord attached, 1948, 1949 & 1950 (vg)