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Lot 28

Optical Toy.- Baynes (Thomas Mann) Fantascope, invented by Professor Plateau of Brussels, containing 6 circular plates for an optical toy, a forerunner to the zoetrope, including two different dancing couples, a cat chasing a bird, a blue bird flying over roses, various coloured circular discs, and a man ringing a bell, original hand-coloured aquatint plates with apertures for viewing, each c.250mm. diameter, a few designs with short extensions beyond, these generally worn, surface dirt, contained between original cloth-backed boards with hand-coloured pictorial label mounted on upper cover, printed instructions mounted on front pastedown, one tie missing, 4to, Ackermann & Co., 1833.

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Lot 196

Southeast Asia.- Laurie & Whittle (publishers) A New Chart of the Banda Sea, Including The Isles of Amboyna, and Banda, Those of Bouro, Ceram and The Circumjacent Islands, detailed chart with inset maps of the Bay of Amboyna and Islands of Banda, Goonong-Appee and Banda Neira, engraving on thick laid paper without watermark, sheet 470 x 630 mm (18 1/2 x 24 3/4 in), some off-setting and minor toning, old fold to lower edge with splitting repaired verso, unframed, 1799; together with 2 others of the region, including J. v.d. Bosch's 'Kaart der Bandasche Eilanden' from the Atlas der Overzeesche Bezittingen, and a lithographed map with the title 'Kaart van het Eiland Timor... 1847' by C.Franz, 360 x 520 mm (14 1/4 x 20 1/2 in) and 360 x 490 mm (14 1/4 x 19 1/4 in), respectively, unframed, 19th century (3)

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Lot 107

Theatre.- Molière (Jean Baptiste Poquelin de) Le Théatre... collatione minutieusement sur les premieres editions & sur celles des annees 1666, 1674 & 1682, 8 vol., one of 400 copies, half-titles, titles in red and black, etched plates, a few in two states, etched vignette headpieces in two states, by Frederic Hillemacher, most vol. with occasional scattered spots, vol. 2 with very small scuff to spine, 1864; and another by the same, together handsomely uniformly bound in red morocco by Chambrolle-Duru, both covers with supralibros in gilt to centre, spines gilt, dentelles in gilt, g.e., Lyon, Nicolas Scheuring, 8vo (9)⁂ Provenance: Isidore Fernandez [book labels; supralibros]

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Lot 217

Smith (Sally Lou, binder).- Cleverdon (Douglas) The Engravings of David Jones: A Survey, number 206 of 260 copies on Arches, from an edition limited to 371, mounted portrait frontispiece, numerous plates, the majority printed from the original blocks, bound in black goatskin, by Sally Lou Smith, with design of a tree with bare branches of tooled lines in gilt & blind and onlaid scrunched black goatskin trunk (smaller on lower cover), the trees partly obscured by a vertical "window" of grey goatskin inlaid with thick lines made up of thin parallel strips of various green, blue & grey goatskin overlaid with tracery of thicker dark grey goatskin branches, titled in gilt across spine, black goatskin doublures with vertical strip of grey goatskin inlaid with dark grey branches reflecting those on the covers, lime green and grey Japanese paper endleaves, t.e.g., others uncut but gilded, signed ''SLS.'' at foot of rear turn-in, c.325 x 245mm., preserved in black goatskin-backed black cloth felt-lined drop-back box, spine titled in gilt, cloth very slightly mottled by damp, with small ownership sticker of Gillian Chipperfield to bottom of box, 4to, printed by the Rampant Lions Press of Cambridge for Clover Hill Editions, 1981.⁂ A striking designer binding by this renowned binder.Sally Lou Smith (1925-2007) was a Fellow and President of Designer Bookbinders and a highly regarded teacher of bookbinding. Although born and raised in America she spent most of her career in Britain. A comprehensive survey of her work appeared in The New Bookbinder 21 (2001).The binding was commissioned by Lady Gillian Chipperfield who was a student of Sally Lou Smith, and has been donated by her to raise funds for Age Exchange, a charity for those with dementia and older, isolated people in Blackheath, London. The charity provides art and music therapy and was a pioneer in using reminiscence as a major help for those with memory loss.

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Lot 16

Nelson.- Churchill (T.O.) The Life of Lord Viscount Nelson, engraved frontispiece and 13 plates (2 folding), facsimile of a Nelson letter tipped-in, double-page ode at end, endpapers a little foxed, bookplate of Hutches Trower on front pastedown, contemporary half calf, gilt, slightly rubbed, gilt spines, slightly dulled, 1810; and another, vol. II only of Harrison's The Life of... Horatio Lord Viscount Nelson, George Matcham's copy (Nelson's brother-in-law) with his engraved bookplate on front pastedown, contemporary calf, slight marked, The Ranelagh Press, 1806, 4to & 8vo (2).

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Lot 159

Petrarca (Francesco) Trotspiegel in Glück and Unglück, title printed in red & black and with large woodcut printer's device, woodcuts by Hans Weiditz, title with portions of loss with paper restorations, other minor marginal restorations to first few pages, light marginal spotting, disbound, folio, Frankfurt, Johann Saur for Vincent Steinmeyer, 1604.⁂ The first 17th century edition with the handsome woodcuts by 'The Petrarch Master' Hans Weiditz.

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Lot 53

Octavius Gilchrist's & William Nanson Lettsom's copy.- Langbaine (Gerard) An Account of the English dramatick poets. Or, some observations and remarks on the lives and writings, of all those that have publish'd either comedies, tragedies, tragi-comedies, pastorals, masques, interludes, farces, or opera's [sic], penultimate errata f., final vertical half-title, 19th century ink annotations (?seemingly in the hand of Lettsom), 2I1 chip to lower margin and short tear within text at foot, without loss of text, some spotting and staining, lightly browned throughout, 19th century speckled half calf, gilt and blind-stamped spine in compartments and with brown morocco label, head of spine with neat small loss, rubbed, [Wing L373; Pforzheimer 577; Arnott & Robinson 10], 8vo, Oxford, Printed by L.L. [i.e. Leonard Lichfield] for George West, and Henry Clements, 1691.⁂ An excellent association copy, with both Gilchrist and Lettsom having written on matters theatrical, including Shakespeare, to whom a substantial section is given over by Langbaine. Octavius Graham Gilchrist (1779-1823), English man of letters and antiquary, whose works include An Examination of the Charges maintained by Messrs. Malone, Chalmers, and others of Ben Jonson's enmity towards Shakespeare, 1808. William Nanson Lettsom (1796-1865), English man of letters, who edited from the author's manuscripts William Sidney Walker's Shakespeare's Versification, 1854, and his Critical Examination of the Text of Shakespeare, 1860, and assisted his friend Alexander Dyce in the preparation of his edition of Shakespeare. Provenance: Octavius Gilchrist (ink name to title); 'W. Nanson Lettsom. 5 Oct. 1854.' (ink inscription to head of title); 'Jn. Wigfall' (ink name to head of a2); 'This copy of Langbaine belonged to Peck, and from the additional names inserted by him it might be thought that a Biographia Dramatica was one of the numerous plans which he did not live to execute' (19th century ink note to front free endpaper).

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Lot 24

Wiltshire.- [Pedigrees of Wiltshire families], manuscript pedigrees, 170pp. excluding blanks, some manuscript notes and correspondence loosely inserted including an ALs from George Beltz as Lancaster Herald (1774-1841) to Sir Richard Colt Hoare, original half calf, worn, spine defective, Britannia watermark, folio, [c. 1830].⁂ Pencil inscription at front reads: "These pedigrees are principally extracted from the Heralds Visitations of A.D. 1565 & A.D. 1623 - a few are taken from a visitation of the Salisbury families in 1677... a few of the imperfect pedigrees from monuments."

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Lot 77

[Evans (Mary Ann)], "George Eliot". Middlemarch. A Study of Provincial Life, 4 vol., first edition in book form, half-titles and divisional half-titles, without errata (as often), bookplates, light foxing to first few pages, titles a little trimmed at foot, attractive contemporary half morocco, spines gilt in compartments, lightly rubbed at spine ends, [Baker & Ross A10.1.a2], 8vo, 1871-2.

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Lot 126

Hardy (Thomas) The Works, 37 vol., 'Mellstock Edition', one of 500 sets with vol.1 signed by the author, portrait frontispiece, half-titles printed in red & black, free endpapers lightly browned, some spotting to prelims and occasionally to text, partialy unopened, original blue cloth with 'TH' monogram decoration to upper covers in gilt, occasion light bumping to extremities but spines unusually bright, 8vo, 1919-20.

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Lot 110

Gautier (Théophile) Le Capitaine Fracasse, 3 vol., one of 150 copies, half-titles, etched portrait frontispiece and 14 plates after Charles Delort, vol. 3 with some marginal spotting, contemporary turquoise half morocco, some faint toning, t.e.g., original printed wrappers bound in, lightly foxed, Paris, Librarie des Bibliophiles, 1884; Une Larme du Diable, half-title and a few ff. with very faint foxing, red morocco by P.[etrus] Ruban, covers with gilt border and foliate corner-pieces, spines and dentelles ornate in gilt, g.e., Paris, Desessart, 1839; Le Roman de la Momie, half-title, black morocco by P.[Etrus] Rubans, covers and spines with art nouveau design of ?lotus flower and leaves in gilt, dentelles ornate in gilt, g.e., original yellow printed wrappers bound in, Paris, Librarie de L. Hachette et Cle., 1858; and 19 others by the same, handsomely bound in morocco in various colours, several by Petrus Ruban, many with original wrappers bound in, 8vo (24) ⁂ Provenance: I. Alfred and Blanche de Curzon [bookplate]; II. & III. Daniel Henry Holmes [bookplates].

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Lot 66

Execution Broadside.- The Last Dying Speech and Confession, Parentage and Education of Henry Fauntleroy..., 30th November 1824, 356 x 256mm., woodcut of gallows with hanging figure at head, double-column, folds and creases, a few small nicks to edges (not affecting text), light spotting, Portsea, Williams, 1824.⁂ One of the last executions for forgery. Fauntleroy was charged with appropriating trust funds by forging the signatures of his bank's, Marsh, Sibbald & Co., trustees. Despite much effort from his supporters, ensuring his case was twice more argued before judges on points of law, and an Italian named Angelini even offering to take Fauntleroy's place on the scaffold, the dreadful sentence was carried out "fronting the Debtor's Door of Newgate [prison]". It was witnessed by novelist and MP, Samuel Warren, who later recalled it in 'My First Circuit', a section of his Miscellanies. Forgery ceased to be a capital crime via two Parliamentary Acts in the 1830s.

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Lot 95

Chifflet (Philippe) Sacrosancti et Oecumenici Concilii Tridentini, engraved title, 3 engraved portrait illustrations, ruled in red throughout, without final blank, early ink inscription to front free endpaper and initials to foot of title, K6 & M4 with short marginal tear neatly repaired, L12 with small hole to blank lower margin, the odd spot or mark, near contemporary red morocco, covers with triple gilt fillet border, spine richly gilt in compartments and with 5 raised bands, rubbed at corners, very light rubbing elsewhere, g.e., Antwerp, Officina Plantiniana Balthasar Moretus, 1640; and others from the sale of the Estate of The Duke and Duchess of Windsor, 12mo (c.40)⁂ Provenance: The Duke and Duchess of Windsor, sold Sotheby's 11-19th September 1997 (bookplate).

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Lot 7

Nelson's father.- Nelson (Rev Edmund, Rector of Burnham Thorpe, Norfolk, father of Admiral Horatio Lord Nelson, 1722-1802) c. 206 Autograph Letters signed "Edm Nelson" to his daughter Catherine "Kitty" Nelson and some jointly to her husband George Matcham, to their homes variously at Barton Turf (Norfolk, near Norwich), Bath, Ringwood (New Forest) and Newhouse (Redlynch), together c. 463pp., sm. 4to, Burnham Thorpe, (Norfolk), Roundwood House, (Ipswich), 1 from Merton Place (Surrey) and elsewhere, 1787-93 & 1795-1801, on family affairs (her brothers William and Suckling Nelson), financial affairs, health and with numerous references to Horatio Lord Nelson, many with wax seals, numerous tears where opened, some slightly affecting text, some other tears along folds, slightly browned, roughly sorted in yearly packets.⁂ "... the News of the Glorious Victory, Your Great & Good Brother, has obtained... ." - Edmund Nelson.References to Nelson, include:(1). 1793. "4th February Your good Brother having received from the Admiralty notice, that the Agamemnon is in readiness to be commissioned for him, this morning left Thorpe, in Health and Great Spirits... ."(2). 1795. "2nd January... Mrs N had a letter... your Bro. then at Leghorn repairing a worn out ship and sickly men. He himself quite well tired of... pork and wishing to meet the Toulon Fleet, when ships get up the Mediter... ."(3). 1798. "1st October... Mr Capell Lieut, of the Vanguard, is this inst Landed, from the Kite, his account is that he left Sir Hor: walking the Deck, perfectly recovered, from the wound he had received in the action. He has taken thirteen sail of the line and has added as much as possible to the Laurels he had already obtained... 8th October... nothing can be added except words of affection and pious thanksgiving for the safety of your Great & Good Bro we have recd. one letter from him, who tells us he is as well as can be expected from the inexpressible Fatigue both of Body & Mind... 22nd Oct.... the Sicilian Majisties, Creation of your Brother Duke of B... the territory annexed to the Title is 4000 L pr ann; is very capable of improvement, and is situated at the foot of Mount Aetna... ."(4). 1799. 31st December. "... Captain Hardy [Sir Thomas Masterman Hardy, baronet (1769-1839), naval officer; was present at Nelson's death and it was to him that Nelson's dying words, 'Kiss me, Hardy', were addressed], gave us the pleasing intelligence, that he left your Bro. as well as usual... ."(5). 1801. "Early this morning, our good friend [Nelson], left London for Plymouth, and wishing to hoist his flagg, as soon as possible... I will not be in His power, to pass thro. Bath... yet... He may visit you before he leaves England... ."

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Lot 36

Rackham (Arthur).- Shakespeare (William) A Midsummer-Night's Dream, one of 1000 copies signed by the artist, 40 tipped-in colour plates and illustrations by Arthur Rackham, captioned tissue-guards, occasional foxing and light toning, original pictorial vellum, silk ties present but detached, t.e.g., others uncut, original board slip-case worn and lacking lower panel, 4to, London & New York, 1908.⁂ Provenance: Constance Eyre Matcham (presentation inscription to her from Geo., dated Christmas 1908 on front free endpaper.

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Lot 3

Wiltshire, Downton.- Court Baron of the Manor of Downton, manuscript in English and Latin, on vellum, 2 sheets consisting of 3 membranes, folds, creased, partially soiled, c. 1890 x 510mm. & c. 370 x 540mm., 1676; and 2 other manuscripts, 2 relating to Downton, including a copy of the Downton Enclosure Award, 1889, v.s., v.d. (3 pieces).⁂ First mentioned is sold subject to the Manorial Documents Rules and may not be exported from England & Wales.

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Lot 22

Australia, Sydney.- Matcham (Charles Horatio Nelson, son of George Matcham, 1806-44) [Diary of a voyage to Australia], autograph manuscript, 74pp. excluding blanks, original roan, rubbed, rebacked in later roan, 8vo, Sydney, 1829-31.⁂ A diary of Matcham's voyage to Australia. "We entered Simons Town, which we dad seen at a considerable distance... along to the shore, Simons Town I thought, resembled from its haggard & shagling appearance a French or Italian village... . Thurday 15th [1829] At four oclock Kings Island rose in sight a long range of white rocks this is the entrance to Bass's Straights the course laying between the Island and the main land." - Matcham.Charles Horatio Nelson Matcham emigrated to New South Wales, Australia in 1829. He died on 11 March 1844, in Gundaroo, New South Wales, Australia, at the age of 37, and was buried in Yass, New South Wales.

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Lot 153

Arthurian romance.- Le premier [-second & -tiers] volume de Lancelot du Lac nouuellement imprime a Paris, 3 vol., collation: a6 b-z A-G8 H-I6; a4 bb-zz &&8 ͻͻ4; A6 aaa-zzz AAA-DDD8 EEE-GGG6, double column, Bâtarde type, 45 lines and headline, woodcut titles with xylographic initial 'L' with calligraphic flourishes and grotesque faces, 28 large woodcut illustrations (1 or 2 shaved at head), including 9 repeats, woodcut decorative initials, vol.1 lacking text ff. H6 and I1&2, and 3 blanks, vol.2 lacking blank bb1, vol.3 lacking blanks aaa8 and GGG6, vol. 1 title laid down with inner and lower margins restored, last 2 text leaves with outer margins strengthened, vol. 3 with some light mottling and some strengthening to fore-margins of early leaves, some light staining to later leaves with final 2 repaired and restored in margins, not affecting text, occasional light marking or straining elsewhere but a very good, clean copy generally, late 19th century morocco-backed boards, rubbed, folio (310 x 218mm.), Paris, Antoine Vérard, [after 18 August, 1502-1504]. ⁂ Rare appearance at auction of all three parts of the second Vérard edition of the chivalric tales of Lancelot, a masterwork of early French printing. Verard's skillful blending of text and illustration is superbly exampled in this book. The present edition was reprinted from Verard's exceptionally rare first edition of 1 July 1494, the date of which appears in the colophon of our volume one; the colophon of volume three gives Vérard's new address as Rue Neuve Notre Dame, which was active from 18th August, 1502 until September, 1504. A central figure of the Arthurian Grail cycle, the character of Lancelot first appeared in the twelfth century work of Chrétien de Troyes and quickly gained a prominence in Arthurian legend. Celebrating the knightly ideal as embodied in one man, the present text was composed in the 13th century and is the most substantial prose romance recounting Lancelot's chivalrous deeds. Malory used it as a source text for Morte Dartur, and the work has been repeatedly adapted by later books and media, perhaps most famously by Robert Bresson's film "Lancelot du Lac" and John Boorman's "Excalibur."Literature: Macfarlane 166 (& cf. 35); cf. ISTC il00033700.

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Lot 34

NO RESERVE Nelson.- Matcham (George, of Newhouse, Redlynch, Wiltshire, Nelson's nephew, 1789-1877) Notes on the Character of Admiral Lord Nelson in Relation to the Journal of Mrs. St. George, printed pamphlet, original wrappers, long ink inscription on wrappers, 8vo, 1861; and 4 others, including a brief manuscript account of the life of Nelson by Matcham, v.s., v.d. (5).⁂ First mentioned ink inscription reads: "From my Father's Journal October 8th 1808 I went to Ly. H - 's & was offered a bed, there were some Citizens at dinner, but alas how different was that table now to what I had before been accustomed where formerlly Eloquence presided Vulgarity, & ?Crasity was now introduced I could almost wept at the change a plan of accounting has been most luckilly laid down for her L-p but I have wished that the Croud of obsecuquious attendance had been intirely dismissed instead of being partially dismissed. This probably was the Company that Mrs St. George gained her information of Adml. Ld. N... ." - George Matcham the elder.An interesting side light on attitudes to Lady Hamilton. During Nelson's lifetime, most of Nelson's relatives (apart from his father Edmund) deserted his wife, Fanny, but after his death most resumed their connections to Fanny and shunned Lady Hamilton.

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Lot 25

Wiltshire, Salisbury.- Of and concerning the Mayor & Commonalty of the City of New Sarum and their Successors... Of and Concerning the Confirmation of the Charters of New Sarum... Mayors of New Sarum, manuscript, 99pp. excluding blanks, original vellum, lettered direct "Copy Charters" on upper cover, yellowed and soiled, folio, [early 19th century].

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Lot 130

Luther.- Fisher (John, Saint & Bishop of Rochester) Assertionis Lutheranae confutatio, collation: A6 A-Z a-c6.4 d e4, title with woodcut arms and ornament, woodcut decorative initials, occasional early ink marginalia or underlining, some ff. loose or working loose, some spotting or staining, lightly browned, [Cologne], [Peter Quentel], 1524 bound with Janssonius (Jacobus) In propheticum librum Iob enarratio, half-title, engraved printer's device to title, woodcut head-pieces and decorative initials, errata f. at end, some water-staining, occasional spotting, lightly browned, Louvain, Hendrik van Hastens & Petrus Zangrius, 1623, together 2 works in 1 vol., later endpapers, later vellum, stained, small folio (289 x 199mm.)⁂ I: An early polemic against Martin Luther. Fisher (1469-1535) was Bishop of Rochester and Chancellor of the University of Cambridge. He was executed by Henry VIII for his refusal to accept him as head of the Church of England. He was canonised by Pope Pius XI. Literature: I: Adams F516; VD 16 F 1216 II: Coppens & De Schepper 23.

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Lot 68

Execution Broadside.- Trial and Execution of Thomas Williams & John Bishop, Murder of an Italian Boy, [5th December 1831], 375 x 220mm., woodcut of gallows at head, broadside, some restoration to upper edge, folds and minor surface dirt, Printed at Birt's wholesale and retail Song and Ballad Warehouse, Seven Dials, [1831]; together with 4pp. from a copy of The Sunday Budget with woodcut portrait of 'The Italian Boy' and his accused, November 27, 1831 (2)⁂ The murder of Carlo Ferrari, "an Italian boy", came 3 years after the infamous Burke & Hare body snatching horrors of 1828. Ferrari's body was taken to King's College dissecting room and his teeth sold to a dentist.

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Lot 11

Nelson's copy as subscriber.- Schomberg (Isaac) Naval Chronology; or, An Historical Summary of Naval & Maritime Events, 5 vol., first edition, Admiral Lord Nelson's copy with his ownership inscription "Nelson & Bronte" on front free endpaper of each volume, list of subscribers (including Nelson), some foxing, uncut in original boards, spines worn with pieces of backstrip missing, 8vo, 1802.⁂ Books owned and inscribed by Nelson are extremely rare on the market. There are some institutional holdings at Portsmouth and Greenwich, and some in private collections but we have been unable to trace others at auction apart from an incomplete set of Pallas' Travels, 1803 (Bloomsbury, 2014).Schomberg's work, to which Nelson subscribed, is a detailed account of naval history from the times of the Romans up to the peace treaty of 1802, with Nelson himself mentioned many times. There are no ink annotations or marking's in Nelson's hand within the body of the books but there are a number of short horizontal pencil lines in the margins next to various individual Captains listed in the Appendix at the end of volume 5, including Maurice Suckling (Nelson's uncle and hugely influential in his naval career), William Bligh (of HMS Bounty, who later served under Nelson at the Battle of Copenhagen), and Thomas Masterman Hardy (ie 'Kiss me, Hardy'). Whilst there are some figures who precede Nelson and who he cannot have known, on the strength of the above 3 mentioned alone (and others such as Sir Andrew Snape Ham[m]ond, Sir Edward Pellew, Richard Goodwin Keats, Sir Thomas Williams, George Grey, Richard Bowen, Edward James Foote, William Bedford, Henry Blackwood, inter alia) it would appear highly likely that these pencil markings were made in Nelson's hand.

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Lot 15

Nelson (Horatio, Viscount Nelson, naval officer, 1758-1805).- Butterworth (Thomas), Circle of. This Plate is Patronized by Viscount Nelson Duke of Bronte, who has assisted at the Capture of 26 Sail of the Enemies Line of Battle Ships in the War from 1793 to 1805, with 4 vignettes of the battles of Genoa, Cape St. Vincent, The Nile, Copenhagen, etching and engraving with aquatint, on cream wove paper with watermark date of '1804', platemark 370 x 500 mm (14 1/2 x 19 3/4 in), sheet 515 x 680 mm (20 1/4 x 26 3/4 in), scattered minor spotting and surface dirt, faint marginal stains to the upper margin, unframed, [circa 1805]; together with a hand-coloured aquatint 'View of Admiral Lord Nelson's Squadron bearing down to Attack the Line of Defence before Copenhagen', published by Haines & Son, and with a good group of 15 Vues d'Optique with original hand-colouring, all unframed, 19th century (17)

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Lot 296

Wilde (Oscar) The Picture of Dorian Gray, first edition in book form, with misprint 'nd' for 'and' on p.208, half-title, 8pp. publisher's advertisements at end, faint spotting to half-title and title, original parchment-backed boards, spine expertly rebacked retaining original backstrip, gilt decoration to upper cover by Charles Ricketts, small loss to spine extremities affecting imprint, housed in modern slipcase, [Mason 329], 8vo, London, New York & Melbourne, Ward, Lock and Co., [1891].

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Lot 54

Judaica.- [Abendana (Isaac)] [An Almanack for the Year of Christ, 1693] The Jewish Kalendar: containing an Account of their Feasts and Festivals ..., interleaved with blanks, one or two trimmed with later blanks tipped to stubs, some with near contemporary notes in various hands, lacking A1-3 (?initial blank, general title and another), faint ink-stamp to title verso, scattered faint spotting, lacking pastedowns and front free endpaper, final free endpaper trimmed and mostly lacking, contemporary calf, upper cover becoming detached, remnants of paper label to spine, bumping to corners and extremities, [Wing A1233], 12mo, [Oxford], [1693].⁂ Scarce. ESTC records 6 UK copies only, 5 at Oxford University colleges, as well as one Cambridge University Library. Only 3 copies are listed outside of the UK, with two at Yale University and one at the Hebrew-Union College-Jewish Institute of Religion. This almanack contains a special dedication by the author to Oxford and Cambridge, "the two most famous and celebrated universities of England.' it also includes their term dates, among other important dates and holidays. This edition also includes an article titled, "A Brief Equation of the Jewish & English Coins, Weights and Measures."Isaac Abendana (c.1640-99) was the son of Spanish-Jews and younger brother of Rabbi Jacob Abendana of London. Having lived in Hamberg and Leyden, where he studied medicine, he settled in England and became Professor of Hebrew at Oxford University. Previous to this he had also been at Cambridge University. It was after he took a position at Magdalen College, Oxford, that he began publishing his annual Jewish almanacks. These were published between 1692 and 1699.

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Lot 140

Descartes (René) Opera philosophica, 3 parts in 1, third edition, half-title, engraved portrait of the author with printer to reader verso, numerous woodcut illustrations and diagrams, lacking final blank to part 1, part 1 L3 reattached on stub, [Guibert 230; Willems 1196], Amsterdam, Louis & Daniel Elzevier, 1656 bound with Descartes (René) Meditationes de prima Philosophia, 3 parts in 1, general title printed in red and black and with woodcut foliage ornament, woodcut head- and tail-pieces and decorative initials, final f. of part 1 blank, part 2 Q2 small marginal hole at foot, [Guibert 53:7], Amsterdam, Johannes Jansson the Younger, 1658, together 2 works in 1 vol., occasional spotting or mostly light staining, lightly browned, contemporary blind-stamped vellum over boards, lacking backstrip, but holding firm, lacking ties, remains of tape to covers, little marked, small 4to⁂ Rare edition at auction.

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Lot 164

Tolstoy (Count Lev Nikolayevich "Leo") [Anna Karenina], 4 vol. bound as 2, first Arabic edition, portrait frontispiece, vol. 3 & 4 with colour titles, previous owner's pencil inscription in Arabic to vol. 1 front free endpaper verso, cracked hinges, occasional faint marginal staining, vol. 1-2 with in contemporary cloth, gilt, chipping and bumping to edges, vol. 2-3 in contemporary half-calf, a little rubbed, abrasion marks and loss to lower cover, 8vo, Istanbul, 1910.

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Lot 97

Tillemont (M. Lenain de) Memoires Pour Servir a l'Histoire Ecclesiastique des Six Premiers Siecles..., vol. 1-16, engraved printer's device to titles, engraved vignette head-piece to each vol., light foxing, browning, mostly uniform, contemporary calf, spines gilt with red morocco labels, a few vol. with tears at joints, but firm, a few vol. with small chips to spine ends or rubbed at corners, Paris, [Chas. Robustel], 1701-12 § Sully (Maximilien de Bethune, Duc de) Memoires..., 3 vol., half-titles, titles in red and black with engraved vignettes, 2 engraved portraits, woodcut head-pieces and initials, bookplates (Alfred & Blanche de Curzon), scattered instances of minor soiling or spots, contemporary calf, rebacked, wear to corners, g.e., Londres [but Paris], 1745 § Boileau-Despreaux (Nicolas) Oeuvres, 2 vol., half-titles, titles in red and black with an engraved vignette, engraved portrait frontispiece, 6 engraved plates, woodcut head- and tail-pieces, contemporary calf, spines gilt with red morocco labels (1 chipped), a few scratches to covers, light wear to spine ends, Paris, Fabri & Barrilot, 1716; and 3 others, 4to (24)

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Lot 262

Greene (Graham).- Sherry (Norman) The Life of Graham Greene, 3 vol., first edition, signed presentation inscription from the author to Graham Greene, with Greene's ownership signature to vol.1, other ownership signatures to vol.2 & 3, plates, original boards, corners bumped, dust-jackets, lightly creased but overall excellent copies, 8vo, 1989.

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Lot 23

Eyre family of Newhouse, Wiltshire.- Benson (Rev Edmund, vicar of Salisbury Cathedral, d. 1835) & Robert Benson, judge and local historian of Salisbury, 1797-1844) [Benson's account of the Eyre family], autograph manuscript notes by Rev Edmund Benson and his son Robert Benson, 80pp. excluding blanks, a few manuscript notes loosely inserted, some slight brown staining at beginning, original cloth, gilt, torn plain paper dust-jacket, sm. 4to, [c. 1830s]; and another, an album (disbound) relating to the Long family of Seale, Surrey, including ALs.s. from John Claudius Loudon and Joseph Wolff (2).⁂ Ink inscription reads: "The following account of the Eyre family (in my Fathers handwriting) was compiled by my friend George Matcham Esqr. of Newhouse from deeds and other authentic muniments R. Benson Dr. Recorder Salisbury."

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Lot 180

Java.- Van Pers (Auguste) 23 plates from 'Nederlandsch Oost-Indische Typen', with numerous character studies and scenes from daily life, captioned in Dutch, French and Javanese, lithographs printed in colours, on thick wove papers, each sheet approx. 495 x 335 mm (19 1/2 x 13 1/4 in), or the reverse, scattered spotting to some, minor surface dirt and handling creases, mainly marginal, unframed, C.W. Mieling, [1853-1862]⁂ Excellent collection of plates from Van Pers pioneering study, which 'attempted to portray various ethnic groups in Java for the first time' (Bastin & Brommer).

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Lot 20

European Travel Journal.- Williams (Elizabeth Anne, second daughter of Richard Magenis of Warrington, County Down, Ireland, married James Wilmot Williams of Herringston, Dorset, 1798-1845) First Impressions in Foreign Countries during a Tour of six months through France to Switzerland and a corner of Italy, autograph manuscript, 150pp. & 2pp. index, 2ff. loose and several others working loose, slightly browned, original straight-grain morocco, slightly rubbed, 4to, 1826.⁂ An extremely detailed tour to the Continent in the 1820s. Includes travels to Calais, Boulogne, Bernay, Paris, Chamonix, Mont Blanc, Simplon Pass, Lake Maggiore, Milan, Splügen Pass, Glarus, Zurich, Lug[ano], Rigi mountain, Lucerne, Berne, Neuchatel, Lausanne, Salins, Joigny, Bernay, Boulogne, Dover."The Rigi, which is between the lakes of of Lucerne & Lug, stretches its woody sides down to the shore. Mont Pilate [Pilatus] with indented outline, stands boldly on the right, different shades of distant mountains, fill up the interval, between the lakes & the snowy peaks of the Oberland, which are seen in the horizon, amongst which, the pointed Finster Aarhorn, the beautiful group of the Wetterhorn... . The banks of this lovely lake are wooded... We landed at Immensee & walked to see Tell's Chael... ." - Elizabeth Williams.

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Lot 43

Hardyng (John) The chronicle of Ihon Hardyng, from the firste begynnyng of Englande, vnto the reigne of kyng Edward the fourth wher he made an end of his chronicle, part 1 only (of 2), without all after G6, title within woodcut architectural border, small defect at blank lower edge, D8 with manuscript ink inscription to margin, lacking 8ff. (E1-8), top edge trimmed, endpapers loose or coming loose, eighteenth century calf, joints cracked but stitching firm, rubbed, 8vo, [STC 12767], Richard Grafton, 1543.⁂ Without the "A continuacion of the chronicle of England", appended by Richard Grafton, taken from work by More and Vergil, which appears with a separate divisional title and within the foliation at 2A1 (following G6). Alison Hanham in her article 'The Two Editions of Grafton's Chronicle of John Hardyng' (Bibliographical Society of Australia & New Zealand, Bulletin, III (1979) ) claims that STC 12767 is the earlier of the two editions.

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Lot 38

Newhouse, Wiltshire Estate Map.- Joliffe (Richard, Surveyor) A Map of Newhouse Farme &c., In Com. Wilts., manuscript estate map of Newhouse and its environs, title in the upper right quadrant, compass rose in the lower left quadrant, north oriented to the upper left, scale in the lower right corner, pen and ink, watercolour wash, numerous ink and pencil annotations, on vellum, 1150 x 900 mm (51 1/2 x 42 in), mounted on linen, remnants of green silk edging, heavy creasing, surface dirt, spotting, and old damp-stains, unframed, 1731

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Lot 14

Nelson's annotated copy.- [Stephens (Alexander)] Public Characters of 1803-1804, Admiral Lord Nelson's copy with ownership inscription and notes, dated ink ownership inscription 'Nelson & Bronte' in Nelson's hand to front endpaper, 3pp. with ink annotations in Nelson's hand to margins, 5 engraved portrait plates, 4pp. publisher's catalogue at end, a few pencil notes in another hand, a few ff. with browning or the odd spot, contemporary half calf, rubbed, uncut, 8vo, for Richard Phillips, 1804.⁂ Nelson's copy, containing the life of Emma, Lady Hamilton (pp.325-333) with his annotations, and possibly on board HMS Victory with him at the Battle of Trafalgar, 1805. Nelson has made three annotations to the entry on Lady Hamilton in this copy. His main comment is made in defence of Emma against the author's mention of criticism to her marriage to Sir William Hamilton, by that gentleman's family. Underlining the word "criticised", Nelson has written at the bottom of the page, "quite the contrary she was given away by the Marquis of Abercorn & always owned as cousin by the present Duke of Hamilton" (p.327). He has also underlined the section referencing Emma's birth as having been in the forest of Bere in Hampshire, writing adjacent, "Lancashire witch". Possibly this was a personal joke (?), or possibly, a correction of geography, with Emma in reality being born in a small town in Cheshire then very close to the county border with Lancashire (p.325). Finally, he corrects the author's reference to Sir William Hamilton's residence in Naples as having been thirty years, with the addition of the word "six" in the margin (p.327). The ownership inscription reads, "Nelson & Bronte February 27th 1804 off Barcelona in Spain". This places the volume in his possession while on the Victory as commander-in-chief of the Mediterranean Fleet, partaking in the siege of Toulon. From thence he was at sea almost continually until the Battle of Trafalgar in October the following year, and whilst he did return to England for a brief visit in August 1805, it is conceivable to think of this copy remaining on board. Certainly his personal library is known to have suffered in the battle, "His small book-case had a hole in the back of it, made by a cannon ball during the action by which the glass door was broken and some of the books scatterred on the floor..." (Universal Magazine, vol. V, 1806, pp.43-47").

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Lot 31

Eyre & Matcham families.- Vanity Fair.- ?Stampes (E.) Autograph Letter signed to "My dr Will", 2pp., 8vo, Athenaeum Club notepaper, [London], n.d. [c. 1848], "Blackstone... has not appeared lately in London but he has answered some conundrum in Vanity Fair last week. Here is a good story I have now read Mr Murphy the traveller asked a Mormon how many wives & children he had. The man said he had seven wives but did not know how many Children as he had not counted them for two years", folds, slightly creased, glazed; and a small quantity of others, including letters and notes relating to the Eyre and Matcham families and a few 19th century photographs including one of the remains of Nelson's house on Nevis etc., v.s., v.d. (qty).

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Lot 141

Physiology.- Descartes (René) Tractatus de homine, et de formatione foetus, translated by Claude Clerselier, edited by Louis La Forge, first Clerselier edition, title printed in red and black and with woodcut printer's device, woodcut illustrations, [Guibert 202:6; Krivatsy 3123; Wellcome II, p.453; Willems 1531; cf. G&M 574 (1662 edition)], Amsterdam, Daniel Elzevier, 1677 bound with La Forge (Louis) Tractatus de mente humana, ejus facultatibus & functionibus, nec non de ejusdem unione cum corpore; secundum principia Renati Descartes, first Latin edition, title with woodcut printer's device, a couple of woodcut illustrations in text, [Krivatsy 6554; Willems 1411], Amsterdam, Daniel Elzevier, 1669, together 2 works in 1 vol., red pencil number to upper corner of title of each work, some mostly light water-staining at head, occasional spotting or staining, lightly browned, contemporary calf, spine in compartments, rather worn, but holding firm, small 4to ⁂ I: 'Descartes considered the human body a material machine, directed by a rational soul located in the pineal body. This book was the first attempt to cover the whole field of 'animal physiology'. The work is really a physiological appendix to his Discourse on Method, 1637' (G&M). II: The French philosopher Louis La Forge was a friend of Descartes and one of the most able interpreters of Cartesianism.

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Lot 112

[Combe (William)] The Life of Napoleon, a Hudibrastic Poem in Fifteen Cantos, first edition, hand-coloured aquatint title and 29 hand-coloured plates by George Cruikshank, the odd short tear and a few margins neatly repaired, not affecting text, plate 1 with a few chips and short tears to edges and laid down, once or twice running into image but without loss, some light browning and offsetting, handsomely bound in crimson crushed morocco, gilt, by Rivière & Son, very light rubbing to spine ends and corners, g.e., [Abbey Life 356], 1815; and a copy of Egan's Sporting Anecdotes bound by Rivière, large 8vo (2)

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Lot 13

Nelson's copy.- Revolutionary Plutarch (The): exhibiting the most Distinguished Characters, Literary, Military, and Political, in the most recent Annals of the French Republic, vol.2 only (of 4), first edition, Nelson's copy with his inscription on front free endpaper "Nelson & Bronte sent by his friend Richard Bulkeley Esq." , light water-staining, uncut in original boards, lacks backstrip, 12mo, Printed for John Murray, 1804.⁂ Given the date of the book, presumably received by Nelson while on board HMS Victory in the Mediterranean while enforcing the blockade of Toulon.Richard Bulkeley was a friend and correspondent of Nelson, their being old comrades from the San Juan expedition of 1780.The work includes William Allen's Killing No Murder as an appendix. Described as "one of the most singular controversial pieces the political literature of our country has to boast" this tract was originally written by a Royalist in 1657. This, together with the extensive chapters on Napoleon Buonaparte and his family as well as the many other potted biographies of French military and naval figures must surely have been interesting reading for Nelson on board ship as he waited for the French fleet to try to escape the blockade.

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Lot 160

Bible, Hebrew.- Biblia Hebraica, eleganti charactere impressa. Editio nova, edited by Menasseh ben Israel, 4 parts in 1, second edition, double column, architectural metal-engraved general title and 3 wood-engraved part titles (these with printed date of 1631 altered by hand to 1636), letterpress title in Latin with woodcut printer's device, woodcut cartouches, verse numbers supplied by hand in various coloured inks in the 20th century, short marginal repaired tear to Latin title, final part ink stain to upper inner gutter of last 30 ff. or so, just touching text on last few ff., but still perfectly legible, some spotting or staining, lightly browned, later blind-stamped calf over wooden boards, sympathetically rebacked in modern ornately blind-stamped calf in compartments, upper corner of lower cover restored, leather of others worn, stained, rubbed and marked, [Fuks, Amsterdam 153; Vinograd, Amsterdam 34; cf. D&M 5124], a solid copy, 4to, Amsterdam, Hendrick Laurensz, 1635-1631.⁂ 'The second, and most important, of the editions prepared by Menasseh b. Israel.' (Darlow & Moule). According to Fuks three variants of this edition exist; ours being variant B, with the Five Scrolls after Kethuvim and dates altered from 1631 to 1636.

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Lot 44

[Heywood (John)] The Spider and the Flie. A parable of the spider and the flie, first edition, woodcut initials and tailpieces, woodcut illustrations (44 full-page, including repeats), lacking initial blanks, title, portrait frontispiece, A² (A2 recto supplied in contemporary manuscript facsimile), the Preface, the Table, Introduction, B2, B4, C1, C3&C4, D2, I4, K-L⁴, Aa1, Aavii2, Aavii3, Aavii4, Bbiiii"², 2C1, [left-pointing hand]Ccii"², [par.][double dagger]Eeiii"², ²"[par.][double dagger]"1-3, 2F4, 2K1, 2Q2 & 2Q3, 2S⁴, final blanks, damp-staining spot to 2D3-2Ff, printer's error to Kk4, corner repaired to [par.][double dagger]2, light damp-staining to margins, modern blind-stamped morocco, [Pforzheimer 469; STC 13308], 4to, by Tho[mas] Powell, 1556. sold not subject to return.⁂ Rare first edition of this early English woodcut work. Standing nearly as long as Milton's Paradise Lost, The Spider and the Fly is an allegorical mock-heroic bestiary in rhyme. It was first printed in 1556 but, according to Heywood's epilogue, was begun nineteen years earlier. The time span between composition and publication may account in part for the generally acknowledge obscurities and inconsistencies of Heywood's political and religious allegory. The poem is allegorical, with spiders standing in for Catholics and flies representing Protestants, yet this strange conceit met with only limited success and so the work was never reprinted, though it was attractively designed and illustrated as noted in Pforzheimer, "...outstanding among English works of the time."

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Lot 32

India.- Matcham & Kirkwood. [Account of a journey in the North-West Provinces], manuscript, 36pp. excluding blanks, 2 pencil sketches of a passenger in a horse and carriage and a guide, original stiff wrappers, sm. 4to, n.d. [c. 1850].⁂ "Saturday 29th, started off for Dalhousie about 7 - 30 walked on for some way up hill & waited for Ekka... but I could not stand ekka so walked, nearly all the way about 15 miles the cart five miles an awful climb of nearly 5000 feet - very hungry - put up at Strawberry Bank Hotel very comfortable... ." - Matcham.

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Lot 50

James I and VI, King of England and Scotland. The Workes of the Most High and Mightie Prince, Iames, by the Grace of God, King of Great Britaine, France and Ireland, Defender of the Faith, &c, first edition, first issue, half-title with fine engraved portrait of James I verso (trimmed and laid down, portrait with portion of marginal loss), fine engraved additional pictorial title (closely trimmed, just touching image to inner margin), letterpress title with woodcut device, woodcut arms to a2, small engraved portrait of Prince Charles to head of dedication, woodcut initials, head- & tail-pieces, with final blank f., Millfield bookplate, later ink underlining and marginalia to T5, occasional slight browning, the odd spot or stain but generally clean, Y1 with very small hole in text, gutter split at Y2 but just holding, later marbled calf, quite worn, spine with central vertical split, lower cover detached, upper holding, [Pforzheimer 531; STC 14344], folio, by Robert Barker and Iohn Bill, printers to the Kings most excellent Maiestie, 1616.⁂ "This volume is of great interest to ... the development of the idea of the divine right of kings and other Stuart constitutional problems. ... Typographically this is one of the finest specimens of Jacobean book-production" - Pforzheimer.

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Lot 26

Nelson (Horatio, Viscount Nelson, naval officer, 1758-1805).- Matcham (George, traveller, Nelson's brother-in-law, 1753-1833) Character of Lord Nelson as "Lord Victory" written by his brother-in-law George Matcham Partially Printed in "Anecdotes of a Croat", manuscript, 8pp., some other manuscript notes in other hands, 107pp., reverse entries, 2pp. slightly stained, original half straight-grain morocco, rubbed, sm. 4to, [c. 1833].⁂ [Nelson was of a] "delicate structure, of a reflective mind, strongly tinged with melancholy, retired & domestic in his habits, it might have been imagined he was ill fitted for war & hardship. But what nature had denied him in bodily strength, she had lavishly made up in mental Capacity. He had a mind which soared above all petty calculations & minor considerations... ." - Matcham.

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Lot 112

Dimitris Mytaras (Greek, 1934-2017)Composition grecque signé en grec (en bas à gauche)huile sur toile120 x 160cm (47 1/4 x 63in).Peint au début des années 1970s.signed in Greek (lower left) oil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAndros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Dimitris Mytaras, from the Contemporary to the Timeless, July 1 - September 30, 2018 (illustrated in the exhibition catalogue, pp. 114-115).LittératureGrafi magazine, no. 1, May-June 1978 (cover illustration).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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Lot 14

Nikolaos  Gyzis (Greek, 1842-1901)Bestrafung eines Hühnerdiebs in Smyrna/ Punition d'un voleur de poulet à Smyrna signé 'N. Gysis' (en bas à gauche)huile sur toile137 x 106cm (53 15/16 x 41 3/4in).Peint en 1873.signed (lower left) oil on canvasFootnotes:ProvenanceDresden Museum - Königlichen Gemäldegalerie Neue Meister (Purchased in 1885 out of the Interest of the Pröll - Heuer Bequest).Natalia Tzirakopoulos collection, Athens and hence by descent to the present owner.LittératureEstia magazine, vol. X, no. 470, January 1, 1885, p. 4 (mentioned).Estia magazine, vol. X, no. 516, November 17, 1885, insert, phototypie von Ch. Bruch, Munchen (illustrated).K.F. Skokos, National Calendar of the Year 1888, Athens 1888, p. 249 (mentioned).Gysis's letter, February 14, 1893 (mentioned).Die Kunst unserer Zeit periodical, vol. VIII, 1897, between pp. 80 and 81 (illustrated). K.F. Skokos, National Calendar of the Year 1897, Athens 1897, p. 20 (mentioned).Techni, I, no.8-9, June-July 1899, p. 239 (mentioned).Epetiris Filotechnon, Yearbook of the Art Lovers Society, 1901, p. 20 (mentioned).Pinakothiki magazine, vol. I, no. 1, March 1901, p. 18 (mentioned).Attiki Iris magazine, vol. IV, no. 16, August 15, 1901, p. 183 (mentioned). M. Montandon, Gysis, Derlag von Delhagen & Klafing editions, Bielefeld und Leipzig, 1902, p. 66 (mentioned), p. 27, fig. 21 (illustrated).Catalogue of the Pictures in the Royal Gallery at Dresden, Buchdruckerel Der Wilhelm und Berta V. Baensch Stiftung, Bresden/ Julius Bard Verlag für Literatur und Kunst, ed, Berlin, 1912, p. 257, no 2402 (listed).Pinakothiki magazine, vol. XIII, no. 145, March 1913, p. 3 (mentioned).Politeia newspaper, November 21, 1925 (mentioned).Allgemeines Lexikon der Bildenden Künstler, Verlag von E.A. Seemann, Leipzig 1922, vol. XV, p. 380 (mentioned). Great Greek Encyclopedia, P.G. Makris editions, Athens 1926, p. 750 (mentioned).Eleftheroudakis Encyclopedic Dictionary, vol. IV, Athens 1928, p. 174 (mentioned). Album of Tinian Artists - N. Gysis, D.I. Kalogeropoulos, X. Sochos ed., Athens 1928, p. 22 (discussed), p. 21 (illustrated).Dialexis magazine, vol. I, no. 3-4, February 29, 1928, p. 84 (discussed).Eleftheron Vima newspaper, March 18, 1928, p. 2 (mentioned).Ellinika Grammata magazine, vol. II, no. 7, March 26, 1928, p. 238 (mentioned).Ellinika Grammata magazine, vol. III, no. 34, November 1, 1928, p. 455 (illustrated).Eleftheroudakis Abridged Encyclopedic Dictionary, Athens 1935, p. 803 (mentioned).Nea Estia magazine, vol. XXV, no. 294, March 15, 1939, p. 427 (mentioned).Eleftheron Vima mewspaper, September 24, 1939 (mentioned).Eklogi magazine, vol. V, no. 2, February 1949, p. 203 (mentioned).Eleftherortia magazine, no. 11, July 1950, p. 166 (mentioned). Ethnos newspaper, January 6, 1951 (mentioned).Nea Estia magazine, vol. L, no. 586, December 1, 1951, pp. 1587 (mentioned), 1586 (illustrated).Nicholaos Gysis's Letters, G, Drossinis, L, Koromilas ed., Eklogi editions, Athens 1953, p. 41 (illustrated).C.S. Solomonidis, Of Smyrna, Athens 1957, p. 142 (mentioned).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1960s, no. GR TITSpit f216-3, p. 1 (mentioned).F. Yofyllis, History of Modern Greek Art 1821-1941, vol. I, To Elliniko Vivlio editions, Athens 1963, p. 183 (mentioned).  N. Armakolas, Nikolaos Gyzis - His Human Side, Kykladikon Fos Newspaper editions, Athens 1964, p. 14 (mentioned).Z. Papantoniou, Kritika, Vivliopoleion tis Estias editions, Athens 1966, p. 113 (mentioned). S. Lydakis, Geschichte det Griechischen Malerei des 19. Jahrhunderts, doctoral dissertation, Prestel-Verlag editions, Munich 1972, pp. 70, 235 (mentioned).The Greek Painters, vol. I, From the 19th Century to the 20th , Melissa editions, Athens 1974, pp. 141, 150 (discussed).Zygos magazine, no. 6, January-February 1974, p. 14 (mentioned).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. 3, Melissa editions, Athens 1976, pp. 176, 473, ft. 381 (discussed), p. 177, fig. 270 (illustrated).A. Xydis, Propositions for the History of Modern Greek Art, vol. II, Olkos editions, Athens 1976, p. 15 (mentioned).M. Papanikolaou, Greek Genre Painting of the Nineteenth Century, P. Pournaras editions, Thessaloniki 1978, pp. 144-145 (discussed), p. 183 (listed), fig. 82 (illustrated).M. Kalligas, Nicholas Gysis, National Bank of Greece Cultural Foundation, Athens 1981, pp. 49, 72, 74, 167 (mentioned), pp. 126-127 (discussed), fig. 6 (illustrated).C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, pp. 53, 132 ft.408 (mentioned), p. 155 (listed).H. Uhde-Bernays, Die Münchner Malerei im 19.Jahrhundert, 2.Teil: 1850-1900, Bruckmann München editions, Munich 1983, p. 156 (mentioned), p. 93 (illustrated).K. Didaskalou, Kompositionsentwürfe und Studien von Nikolaus Gysis, Magisterarbeit, Munich 1986, p. 95 (mentioned).K. Arseni, Modern Greek Painting, 19th - Early 20th Century, Ministry of Culture edition, Athens 1986, p. 57 (listed).E. Kazolea, Das Allegorische Werk von Nikolaos Gysis, Magisterarbeit, Munich 1988, p. 4 (mentioned).  Y. Kairofylas, Nikolaos Gysis, The National Painter, Filippotis editions, Athens 1990, p. 25 (mentioned).K. Didaskalou, Genre- und Allegorische Malerei von Nikolaus Gysis, doctoral dissertation, Munich, 1991, pp. 27-29 (discussed), p. 131 (mentioned).N. Misirli, Gyzis, Adam editions, Athens 1995, pp. 15, 116, 142, 162, 345 (mentioned), pp. 74-76 (discussed), p. 369, no. 30 (catalogued), p. 72, fig. 30 (illustrated), pp. 73, 75 (illustrated - details).Dictionary of Greek Artists, Melissa editions, vol. I, Athens 1997, p. 323 (mentioned).Epta Imeres - Kathimerini newspaper, Nikolaos Gyzis, March 9, 1997, p. 4 (mentioned), p. 3 (illustrated).National Gallery 100 Years, Four Centuries of Greek Painting, National Gallery and Alexandros Soutzos Museum edition, Athens 1999, p. 74 (illustrated).Nikolaos Gyzis and his Era, exhibition catalogue, Elitrochos editions, Patra 1999, p. 19 (mentioned and illustrated).S. Lagouros, Tinos, Art and Artists, Tinos editions, Athens c. 2000, p. 34 (discussed).Gyzis in Tinos, 100 Years from the Death of the Artist

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Lot 15

Nikolaos Lytras (Greek, 1883-1927)Aghios Sozon, Tinos signé en grec (en bas à gauche)huile sur toile56 x 45cm (22 1/16 x 17 11/16in).Peint en 1923.signed in Greek (lower left) oil on canvasFootnotes:ProvenanceBonhams London, The Greek Sale, 9 April 2014, lot 6.Acquired from the above sale by the present owner.This wonderful painting was given as a gift by Lytras to his friend, the mozaic artist Polychronis Renieris. In 1923, when he was appointed professor at the Athens School of Fine Arts, Nikolaos Lytras visited Tinos, the native island of his father, the great 19th c. painter Nikiforos Lytras, in search of an interpretative approach to nature and a deeper pictorial truth resulting from powerfully expressive juxtapositions. His fatherland, with its sparse, jugged terrain and sculptural quality of both its natural environment and traditional Cycladic architecture, offered Lytras many pictorial challenges posed by stark contrasts. It should be noted that in all of his Tinos paintings, which represent the culmination of his landscape work, Lytras consistently avoided general or panoramic views of the island's village complexes. Usually, only some scattered structures, identified by their solid, cube-like volumes, are juxtaposed with the wavy lines and flowing rhythms of the natural environment.1Like a white dove on a rocky outcrop ready to fly into the blue cloudless sky, Lytras's dazzling Cycladic chapel captures the power and brilliance of the Aegean archipelago. Vibrant form, painterly, Cezannesque technique and energetic brushwork in the vein of van Gogh support the liberation of properties intrinsic to the medium, asserting the freedom of the artist's pictorial gesture over his original subject. The tactility of the textured surfaces and, especially, the use of thick impasto lend a corporeal presence to the pictorial space. As perceptively noted by A. Kouria who curated the artist's major retrospective at the Athens National Gallery in 2008, 'in Lytras's views of Tinos the very materiality of paint becomes the materiality of the landscape itself.'2 This sense of immediacy and substance is enhanced by the prominence of the foreground rocks, these 'immortal sculptures'3, as Y. Tsarouchis once called them, that eternally define the character of the Greek land, conveying to the viewers an impression of a first-hand experience, as if they were actually part of the landscape. The painting unfolds with upward undulating rhythms like an abstract interplay of successive volumes, welding the rugged terrain and the whitewashed chapel into such a compelling entity that even the artist's signature on the lower left seems organically integrated in the pictorial surface, as if it were an 'indigenous' part of the landscape.1 See A. Kouria, D. Portolos, Nikos Lytras, Building Form with Colour and Light [in Greek], National Gallery-A. Soutzos Museum & Hellenic Literary and Historical Archive, Athens 2008, pp. 115-119.2 Ibid, p. 118.3 Y. Tsarouchis, The Obsession with Greenery, Kathimerini daily, 7.9.1975.For further information on this lot please visit Bonhams.com

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Lot 40

Nikos Engonopoulos (Greek, 1907-1985)Trois philosophes signé en grec et daté '37' (en bas à droite)huile sur toile106 x 93cm (41 3/4 x 36 5/8in).Peint en 1937.signed in Greek and dated (lower right) oil on canvasFootnotes:ProvenanceThe Artist's Estate.Private collection, Athens.ExpositionsAthens, Nicolas Calas residence, Exhibition of Paintings by Nikos Engonopoulos, 1939 (possibly).Venice, XXVII Esposizione Biennale Internationale d'Arte, Greek Pavilion, Nikos Engonopoulos, June 19 - October 17, 1954, no. 2 (listed in the exhibition catalogue, p. 294).Sao Paolo, Brazil, III Bienal de Sao Paolo, Museum de Arte Moderna, July-October 1955 (listed in the general exhibition catalogue, p. 161, no. 1).LittératureFiche Descriptive des Oeuvres Pavillon Grec, Venice Biennale, 1954, handwritten list, p.5, no. 40.K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 204, p. 76 (shown in a 1954 photograph with the artist), p. 241 (illustrated), p. 409 (catalogued and illustrated).Nikos Engonopoulos, Painter and Poet, conference minutes, Benaki Museum, Athens 2010, p. 177, fn.18 (mentioned).Nikos Engonopoulos, exhibition catalogue, Andros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, 2017, p. 257 (shown in a 1954 photograph with the artist).A significant missing piece of 20th c. Greek art, discovered recently by Bonhams and returned to public view after nearly 70 years,1 this pioneering work—Engonopoulos's first surrealist oil—was shown in the 1954 Venice Biennale,2 where for the first time, Greece was represented by one artist alone.In Venice, Engonopoulos showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'Here, the artist subverts—in a typical surrealist fashion—the conventional ways with which rational thought perceives the world by replacing the heads of the three philosophers with archetypal geometric forms. Paying homage to the great Cézanne who exhorted painters to depict reality in terms of simple geometric shapes and volumes, he finds in the cube, the sphere, and the triangle the underlying, basic structure of the world, the all-encompassing essential force that binds the universe. These archetypal forms echo the ideal world of Plato who considered them pure beauty and fundamental elements for building the world. Elemental and three-dimensional, these forms also seem like stemming from a Bauhaus workshop in the 1920s, forming an imaginary cultural bridge that spans the millennia. As noted by Walter Gropius, the great German architect and founder of the Bauhaus School, these original geometric shapes are purely abstract entities that dash through time and all countries, ensuring validity in all human creations.The visual act, set against the schematised and unmistakably Engonopoulian formations of travelling clouds, takes place in a shallow stage-like space that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting,3 has once said that 'under the stage lights, with the most harmonious moves, in a coordinated whole, amidst colours and music, every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 Navigating the viewer to a magical world of poetic metaphor, a host of details trigger various associations ranging from Medieval and Renaissance times (the chequered tilework echoes similar motifs by Mantegna and Giovanni Antonio Fasolo) to Giorgio de Chirico's pittura metafisica (highlighted by the triangular shape used in constructing the philosopher's head). In the left middleground, the red figure carrying a heavy bag possibly alludes to the myth of Sisyphus and the philosophical theory that existence is absurd, while in the upper right corner, the tall buildings perched on a steep hill are reminiscent of similar structures in works by Parthenis and de Chirico. Although the unexpected staging of dream-like scenes is a fascinating feature of Engonopoulos's art, no less impressive is his handling of colour. The shimmering yellow, green and orange tunics worn by the three standing figures and the enamel-like blues and reds applied without tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.1 The painting remained accessible to scholarly research only though a black and while archival photograph published in the artist's catalogue raisonée (see Littérature).2 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.3 P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou-A.Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters - 20th Century[in Greek], Melissa editions, Athens 1974, p. 261.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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Gateway Auctions
Lot 11

1928 Chenard & Walcker T11 4 door Limousine No Reserve Registration: BS 9237 Chassis: 94884562 Engine Size: 2200 cc Odometer: 00624 Fuel: Petrol Transmission: 4 speed Manual MOT Expires: Exempt . Very rare thought to be 1 of only 5 manufactured • Imported to the UK from France in 1990 • In current ownership for over 20 years Outside • Red over cream paintwork is very presentable. It does show brush & sanding marks on close inspection • Repair showing on O/S/R quarter • Chrome bumpers in reasonable condition with only slight pitting • Wood inlays on runner boards in good order • Recently fitted new Michelin period tyres all round Inside • Light brown with red piping velour seats are clean and have no rips • Matching door cards & carpets • Wood trim on the dashboard & door tops is crack free Mechanical • Fitted with a Land Rover 2.2 petrol engine by the current owner (The original engine is available) • The engine starts well and runs smoothly • Original 4 speed gearbox is mated to the Land Rover engine with a conversion plate and is good order • The brakes need a firm press but pull the car up well History • V5C registration document shows the car as manufactured in 1928 • First date of registration in the UK was 2004 • Imported to UK from Brittany France in 1990 • Steadily restored and improved since import • Has been used for over 40 weddings by it's current owner • 2 - Original owners handbook (but in French!) • Chenard & Walcker were a French car manufacturer renowned for 1st & 2nd place at Le Mans in 1923 Our Opinion An opportunity to own and enjoy a very rare and unusual car from the 1920's! Great for shows and also weddings as proved by it's current owner!

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Gateway Auctions
Lot 16

1994 Mercedes Benz E280 Auto 4 door saloon car No Reserve Registration: JUI 7470 Chassis: WDB1240282C070784 Odometer: 73,400 Engine Size: 2799cc Fuel: Petrol Transmission: Automatic MOT Expires:22/06/2023 -- Very original and well kept Mercedes Benz E280 -- Well documented history -- Very low mileage for age Outside -- Very well presented maroon paintwork in original condition -- Both front wings are corroded on the wheel arches -- Rear wheel arches are starting to bubble -- Dent to the boot lid which has been touched in -- All 4 alloy wheels are in good condition with minor kerb marks and a few chips -- Near new tyres all round Inside -- Lovely cream leather seats in near perfect order -- Carpets, door cards & over mats show almost no wear -- Black/walnut dash, clocks & switchgear all in time warp condition -- Overall an absolute pleasure to drive in Mechanical -- Straight six 2.8 petrol engine starts instantly and is ultra smooth -- Oil pressure gauge shows excellent oil pressure -- Automatic gearbox is very good -- The 5 speed automatic gearbox is smooth -- Brakes feel solid and the E280 stops in a straight line -- The vendor has fitted a new wiring loom History -- 12 service stamps in the original service history booklet -- Very well documented file with previous MOTs and receipts for work carried out -- V5C document shows 9 former keepers Our Opinion An extremely well looked after Mercedes Benz with the desirable 2.8 six cylinder engine. Just a little work on the arches and this car would be amazing

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Gateway Auctions
Lot 23

Rolls Royce Phantom 6749cc V12 Auto 4 door saloon car Registration Number: RX05 BPF Date of Registration: 20/04/2005 Recorded Mileage: 155,629 MOT Expires: 09/05/2024 c/w V5C registration document & 2 keys ** This vehicle was wrapped in white vinyl so there is some areas of damage to the paintwork **

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Gateway Auctions
Lot 4

2002 Porsche Boxster S 3.2 6 speed manual convertible roadster No Reserve Registration: J999 LRH Chassis: WPDZZZ98Z3U640872 Odometer: 81,089 Engine Size: 3200 cc Fuel: Petrol Transmission: 6 speed Manual MOT Expires: 16/06/2023 . Desirable 6 speed manual 986 Boxster S • Black Leather interior • Low mileage for the year Outside • Black metallic paint in good condition but in need of a machine polish to bring out it's gloss • No notable dents, scrapes or rust • Minor stone chips on the bonnet & front bumper • Light lenses very clear • Glass all chip & scratch free • All 17 inch alloy wheels would benefit from a refurb • Michelin tyres are cracking on the sidewalls • Rear Boxster S badge is damaged Inside • Excellent black leather seats with only minor age related creasing • Dash, clocks, door cards & switches all in good condition • After market Alpine stereo • Rear wind deflector Mechanical • Engine starts well and is smooth with no rattles • 3.2 S engine pulls well throughout the rev range • Gearbox is smooth and crunch free with a light clutch • The brakes are positive and the Boxster stops in a straight line History • Only 3 former keepers • Original book pack & part service history with 4 stamps  Our Opinion A very useable Porsche Boxster S that will be a very nice example with a good polish.

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Gateway Auctions
Lot 7

2003 Porsche Boxster 2.7 5 speed manual convertible roadster No Reserve Registration: SV53 EHZ Chassis: WPOZZZ98Z4U601284 Odometer: 82,069 Engine Size: 2700 cc Fuel: Petrol Transmission: 5 speed manual MOT Expires: 19/10/2023 . Eye catching metallic silver • Sought after 18 inch Carrera Light 5 spoke alloys • Heated seats Outside • Deep gloss on the desirable metallic silver paint • No notable dents or scrapes • Minor stone chips on the bonnet & front bumper • Small area of bubbling under O/S/R quarter air intake • Light lenses are a little yellow/dull but could be refurbished • Glass all chip & scratch free • All 18 inch alloy wheels present well with no kerb damage only slight bubbling to some inner spokes • Blue hood has no tears but has a slight fray around the size of a 10p Inside • Grey leather interior is in good condition with black Porsche over mats • This Boxster has the welcome extra of heated seats • Original stereo system with CD auto changer Mechanical • Engine starts well and revs freely with no rattles • 5 speed gearbox and clutch are smooth and positive • Brakes bring the car to halt in a straight line with a solid pedal History • Only 4 former keepers • Original book pack & part service history with 6 stamps  • Quantity of receipts Our Opinion An eye catching Boxster with rare wheels and a great colour.

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Von der Warth und Lankes GmbH & Co. KG
Lot 2004

J&M/Fulgurex int. Pullmanwagen 4018, Spur 1, weiß/braun, mit Inneneinrichtung und Beleuchtung, weißes Dach, limit. Auflage 35/79, Alterungsspuren, L 73,5, in Holzkiste, Z 2

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Von der Warth und Lankes GmbH & Co. KG
Lot 2005

J&M/Fulgurex int. Pullmanwagen 4018, Spur 1, weiß/braun, mit Inneneinrichtung und Beleuchtung, graues Dach, limit. Auflage 29/80, Alterungsspuren, L 73,5, in Holzkiste, Z 2

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Von der Warth und Lankes GmbH & Co. KG
Lot 2041

Pein Diesellok ”Bentheimer Eisenbahn-AG - D 1”, Spur 1, elektr., 2-Leiter, Messing, rot, hochdetaillierte Ausführung, Türen, Klappen und Motorraum zum Öffnen, Lufteinlasslamellen bewegl., Alterungsspuren, 1 Arretierung vom Dachfenster fehlt, L 33, in M&L Tragebox, sonst Z 1-2

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Von der Warth und Lankes GmbH & Co. KG
Lot 3046

Rock & Graner Streckenhaus 241, uralt, HL, mit Hauptsignal und Figur, LS und Alterungsspuren, L 12, Z 3

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Von der Warth und Lankes GmbH & Co. KG
Lot 3063

Rock & Graner Fahrkartenschrank 272, uralt, HL, mit AT, LS und gealterter Lack, H 14,5, sonst noch Z 2

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Von der Warth und Lankes GmbH & Co. KG
Lot 374

Bing engl. 2-B-1 Tenderlok II LB & SCR, Spur 0, Uhrwerk intakt, braun/schwarz, mit Bremse und v+r, Stirnlampen und 1 Kupplung fehlen, Führerhausdach, Rotbereich und Schwarzbereich vom Kessel nachlackiert, LS und Alterungsspuren, Z 3

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